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@Sté Thanks for this. So are IEM's the same as 'ordinary' in ear headphones? Rob

This all day long. There's an Andertons video where they compare some semi-hollows including the Warwick Star and Epiphone Jack Cassady, some others too I think... That should give you a good idea of the possible sounds. I had an Epiphone JC and found it really versatile, great bass.

Ampeg V4 B.

I bought the t.bone EP 4 (from thomann) cause i was needed some in-ear to sub a gig with an all equipped band. And i can say that for the price i've paid, those ones are very good, comfortable to use. Bass sound is really present and nice. I now use it at home with my mighty plug mp-2 and it works perfectly.

I didn't mean it in a contrary way. Tone of voice often doesn't come across well over the internet. I'm interested in what you think they're missing on this.

ok, have it your way. 🙄.

Great post 👍

Streaming definitely benefits my band. It allows us to reach listeners all over the world. About 90% of our listeners are from outside of the UK. For better or worse it's where the majority of most artist's potential audience are. These days it costs next to nothing to be on streaming services, so why wouldn't you be there? Does it give a fair payout? How do you even begin to quantify that? Let's look at the "good old days" of record companies, albums and CDs... A new signed band might get 10% of the retail price of the record or CD, But that only came after they had paid off their advance, recording costs (often to a studio owned by the label), promotional costs like buying onto a major artist tour, making videos, paying photographers, record pluggers and all the publicity that a band with a record contract in the 20th century would have taken for granted. They would also have to sign with the record labels publishing company who would take one third of all their performance royalties. Most bands would never see any money other than what the label initially advanced them. And that was only for the very lucky few who actually got signed. If you were going to put out your own record, in the late 70s if you cut every corner possible like The Desperate Bicycles you could record and press 500 copies of your single for just under £200. Back then it took at least 3 months to get your records after you had sent them off to be pressed. If you were lucky and John Peel liked it enough to play it more than once and Rough Trade gave you a distribution deal and you sold all the copies, you could probably afford to make a second single and not have to cut every corner this time. Or if you were unlucky like my friend's band it could take the best part of a year from making the initial recording to getting your 500 copies of the single and then your distributor would go bust taking all of your stock with them never to be seen again. On the other hand streaming probably won't make any of the artists being streamed rich on its own, but if you do it right you should at the very least make back your aggregator's fees. Your music will be available for as long as the streaming service is running. Yes Bandcamp give you 90% of your download and physical product sales, but their reach is tiny compared with Spotify or Apple Music or Amazon. IME the people who do badly out of streaming do so because either they have signed a deal that gives someone else (usually their record label) the majority of their streaming income, or because they don't do enough promotion. The conservative estimate is that 20,000 new songs are uploaded EVERY DAY. So when you release your next single not only do you have to compete with the other 19,999+ songs released that day but you also have to compete with almost every other song ever released in the history of popular music. The charts (for what they are worth these days) have to apply negative weighting to back catalogue otherwise new artist would barely get a look in. So if you can't/won't promote your music how can you ever expect to reach an audience of more than your close friends and family? For me the short answer is that while I'm almost never going to make a living out of my music, at the moment my band breaks even overall in terms of what it cost us to be a band and what we make from playing gigs and having our music available to listen to or buy in various formats. And while it isn't a massive proportion of the band's overall income it makes an important contribution.

Looking great.

I started on a 77 P Bass, never regretted selling it apart from the price i got £325 in 1993. Then five years ago I thought i needed one again so bought the best i could find a CS 62 relic. Five years on I decided i didn't again, for the same reasons i parted with the first - There are better made basses out there with wider tone flexibility. So I traded it for a Sadowsky NYC with chambered body, quarter sawn flamed maple neck. Best sounding bass i have owned.

https://hg.eu/uk/products/hg-odour-eliminator-for-clothes-and-fabrics This stuff. Works great getting smells, smoke/soot, pet smells and so forth out of cases, bigbags, upholstery, carpet, draped, curtains, mattresses etc etc.

What opportunity though? They've also got the ToneX One and the original three button ToneX. I'd say the only thing they're missing is a bigger floorboard that's also a fully fledged multi effects unit.

Yeah, I know all that, but I feel they missed an opportunity.

Turn all of the controls down. Then turn them up individually and tap on the pickups lightly with a metal object to see what turns what on. Turn it down again and repeat until you've worked it out. Usually any blend control will have a centre detent so you know you're in the middle. A tone won't turn the pickups on.

Hi I'm looking at the smallest setup for portable use, so using my NUX Mighty Plug Pro and a set of wired headphones. I have a pair of over ear headphones that are very good, Austrian Audio but are a bit bulky. As my iPhone no longer has a headphone socket AND my daughter appears to have lost my rather nice wired Bose headphones, I'm unsure what to get. Also does playing bass need specific ones? I've never used in ear monitors and am unsure if they are the same as wired ear plugs such as the Bose ones above. I can't see me needing IEM's for the foreseeable future, so any recommendations for in ears for practise purpises less than £100 would be very helpful. Rob

And I bet he could make it sing!

Maybe a little of topic. Last band I was in the guitarist (Blackmore impersonator) who was a Phd. in Physics could could not "get" room resonances, nodes and anti-notes. I tried many times to explain it but stopping when I could see it meant nothing to him. I also tried to explain speaker directivity and dispersion due to me saying "don't point your speaker cab at me!!" protests. Thinking back now, I suspect he could only think in academic terms (what is written in textbooks) with no connection or sense to how these were applied in the real world. I said to him once, "if I didn't know you were Phd in Physics I'd think you are a slow learner." Back to Basschat - the best (amateur) bass player I've seen would turn up promptly at the gig, set up on stage then spend no more that 10 mins getting a well balance sound (knob twiddling). I recall he had a 1x15" and a 4x10" two cab setup every time and always sounded right where it needed to be. I never heard him complain the sound was bad at a gig, he seemed to have the "ear" and knew how to get the right sound.

Yamaha make consistently good basses at each price point. Much like Toyota; totally dependable, but seen by some, as a bit dull. The MIJ examples are truly superb instruments. I just scored a MIT BB2004, which is a very nice instrument. If I had a gripe it is the general lack of interchangeability of the pickups of older versions. Run-of-the-mill replacements normally don’t fit the Yamaha body cavity.

Anything with “Yamaha” on it is fabulous. From my old BB3000S to an RBX175 I had, and a whole bunch of others in between, everything they make is great. One of my current favourites is an RBX A2 5, which is absolutely superb. I recorded with it last week and sounded immense, great low B.

Even Jaco needed a P......

I have one somewhere, but I upgraded the electrics to Vol/Vol/Tone CTS etc. I have a feeling that it was Volume, Blend, Tone originally. Sorry that isn’t a definitive answer.