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new bass day!! On Sunday i shal be taking delivery of this beauty im entirely in love with my Sandy TM5 and im hoping this will cure my precision gas once and for all.

The Mrs just showed me this on Reddit, so I found it on YouChoob to share.

I don't move much either. Unless the invisible bear shows up. Blue

New wife for your 50th. What is this 2 bass nonsense?

I'd just replace the string(s)... but make sure the band plays a song while you do that without bass. THEN when you come in, everybody will realise that YOU, THE BASS PLAYER, is the most important member of the band

I wanted to get a bass from my past from when I started learning to play, & the brand of basses that held a sentimental meaning to me for my 50th last August. I grew up in a town in North Wales which had one guitar shop & was a Peavey dealer & also that my, late Father had bought me a 79 T-40 for my 21st back in 1988 so made my mind up for me. So last July I found a 1992 Peavey Foundation on eBay and even though it had the Super Ferrite pickups like the 80's models, the body & headstock shape just were not the same but I bought it anyway. Fast forward to this February and with help from kodiakblair found a 1986 Peavey Foundation in, good condition from a fellow BC member dave.c which ticked all the boxes. An 80's bass from when I was 19 and the thought of turning 50 was a life time away, I miss the 80's plus as bassists I honestly thought we had it better then than now.

About fifteen years ago, I spotted an ad in our local rag: "Experienced lead guitarist and singer (been playing guitar for 15 years in all styles) looking for others to jam with and maybe form a band". TBH I was a bit scared to call the guy (let's call him Dave), seeing as he was clearly far more experienced than me (I hadn't been in a band since school, but then Jimmie quit and Jodie got married....). Still, he sounded ok on the phone, so I arranged to go round to his place the next evening for a jam. When I turned up, the door was answered by a tall freaky guy, who just stared at me. Eventually Dave appeared behind him and said "it's ok John, he's here to see me". We went downstairs to the living room, and started messing about with a few songs. It turned out that far from being an experienced LG, Dave could just about manage a minor pentatonic scale if he looked at his fingers, whilst his singing was really best left in the shower. Also, there was something about him that I couldn't quite square - he was certainly too shy to ever be a frontman, and he sometimes seemed to be in another world entirely, and then struggled to finish his sentences. John, meanwhile, took up position in one of the armchairs, and stared at me continuously. Eventually John got up to go to the loo, and I decided to make my excuses and leave. Dave said, oh, don't mind him - he's got schizophrenia, so it means he's not good with new people. It's just this house is owned by the council for the six of us to live in. We have a care worker during the day, but in the evenings he only comes round if we press the alarm button.......

A few days after the first Gulf War ended, I was doing CSE forces shows in Kuwait & Saudi Arabia. While having pre gig refreshments about a 1/2 mile from the gig (Kuwait), we heard a rather loud explosion. A sergeant marched into the mess, then informed us that the show wouldn't go on. He shouted out at the top of his military voice, with a sh*t eating grin, that the Stage and all the hired equipment had gone up in smoke. Amazingly & stupidly, the Stage had been erected near an ammunition dump, which indeed, had gone up in smoke....You could tell by the look on the face of the Sergeant, that us wimpy musicians, should have gone up with the stage as well. The turn was an Impressionist called Bobby Davro, who minus the band, then offered to tell gags to the troops for some kind of entertainment (no mic - shouting at the top of his voice). He went down a (Desert) storm for making the effort, while we got smashed on some home made wine some French SF's troops had given us. (So, not a complete disaster)

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That is pretty well the shape I want, now Make some holes for the machine heads. I have some but not sure if I have the surrounds for them

BTW folks, heard word from Tech21 on 'that other forum' that the XLR 'is darker' than the main output, as per Dug's specs. Whether this means there is no speaker sim at all on the main out, or just a brighter one, remains to be seen! Just for those folk sending the XLR to the desk and the main out to your FRFR wotsits, you won't get exactly the same tone out of each.

Actually, now you mention it, it might have been in the Meadows and not actually in Clifton. I think the thing those venues had was a) respect for the performer b) the need to put on a show and not gaze at your shoes, scratch your derrière or argue amongst yourselves between numbers

Pahahahahahahahahahahahahahah... *cough* *splutter* *cough* Ahem... Pahahahahahahahahahahahahahah... Nice bass though!

Oi you lot! Get back on topic! I want my dUg pedal!! wa-wa-wa-wa-wa

Thanks all for the kind words & feedback! Looks like it was worth while after all

I use both octaves for very different reasons. the broughton is very much a synth tone generator. its a great sounding OC-2 esque, amazing tracking synth pedal. The aggie serves a different purpose all together.... Its more of a blended octave down copy of the input signal...but the original signal has a lot of the lows reduced, and the octave down has them more pronounced. The GR2 is used almost exclusively with the 2nd mastotron in its loop. Its the core of so many of my sounds because it just sounds fantastic. For funky fingerstyle the Mini Mu is my go to filter as its the fattest/quackiest ive come across yet! the manta is used if i need something more complex for dubstep style `wabs` for example. The bananana hasnt been incorporated into any of my songs at the moment so diddnt make the board. yet!

Nottingham 1973 This is a band audition tale... At my first" day release " at college ( I was an apprentice plumber) I met two guys that wanted to form a band, we arranged to meet at the rhythm guitarist's garage on the following Sunday. It went well enough we just needed a drummer. I volunteered my mate who had driven me and my gear to the audition.....he had never played drums and didn't have a kit but as the rhythm guitarist's father was a resident drummer at a local working men's club, we could use his kit and rehearse in a the fabulous function room that wasn't used on a Sunday afternoons. Sounds like a recipe for disaster yes? ...not a bit of it ,Dave took to drumming like a duck to water, Six weeks after his first go he had bought a kit of his own and we did our first gig...Market Harborough Working men's club, 3x 20 mins sets, with our armoury of 12 covers...and we got paid £29.00, ok we did have a few requests to "play this song again" to get through, but no one complained. This was in the days when even a rubbish band like ours gigged at least twice if not three times a weekend; a half decent band could gig five times a weekend and pick up midweek gigs. We pottered along for six months but the (almost inept) lead guitarist/lead singer just didn't improve, in fact he got all "rock star "on us and kept missing practice without letting us know and turning up drunk for gigs. We decided to replace him, unfortunately everything came to a head at the Friday night gig of a three gig weekend and the Saturday night gig, at a pub in Chesterfield, was an audition for a new agent. Being young and brave we didn't cancel, we phoned around and got a friend, who was in a much better band than us ( they were having a weekend off), who was much more experienced than us, to come and fill in for the weekend. We ran through some songs on Saturday afternoon and everything sounded much better than before, although we needed to juggle the set list to suit his knowledge of songs and hurriedly learned a few of his favourites. When we did the gig things went very badly wrong (what a surprise :-) ) the new guy just point blank refused to turn his guitar up and wouldn't sing close enough to the mic to be heard...we missed all the cues fumbled through a few songs and after the first set decided that he was being a p*ll*ck and told him we would manage without him, we re- arranged the sets ,leaving our best stuff for the last set, and gamely went for it. During the break before the last set the landlord came up to us and paid us saying "here you are lads, don't bother going on again" We packed away in shame and drove home in silence. The new agent never spoke to us and we cancelled the Sunday gig. Rock and Roll chaps......Rock and Roll. Edited to add.... I now tell my kids and friends who complain about me "singing" along to the radio etc... "Hey I have been paid to sing and I have been paid not to sing....what have you done? "

I've used black, white and copper nylons from La Bella. Absolutely superb strings. Smooth, low tension but high gauge so you can really dig in. Last a lifetime. The white nylons remain my string of choice for fretless.

Yep, this is so true. And, at an audition, NEVER tell the keyboard player he's playing a wrong chord - even if it's clearly wrong. You'll never get the gig - you're a threat. And always look for the positives in any of the players in the band you're auditioning for - a couple of gentle favourable comments can work wonders. "Hey, Mr drummer, I like the way you didn't speed up in that number" Wow, that guitar solo was REALLY loud - I love it when my ears bleed like that!"

Wow. Didn’t realise they made these. I had a Battering Ram 2.6 (effectively the same pedal, minus EQ) and had it not been for it’s awkward size and shape I may well have kept it. Very cool pedal and bucket loads of bottom end in the overdrive I found. In fact, it held more low end than any other overdrive I’ve owned, before or since

It's a Wounded Paw Battering Ram Q. https://www.woundedpawaudio.ca/fx/index.php?main_page=product_info&cPath=1&products_id=29&zenid=99a32393a9736460d2ca46ea79dfc03f I don't even like fuzz pedals and this is genius. Truly. Genius. The parametric EQ is great. The distortion in parallel with the fuzz and octave up fuzz is brilliant. Very flexible and just great. In that respect better than Darkglass, but the sound is very different.

t's not going to happen. I'm still trying to get the band to play songs that were written this century. I don't think any of them know what in-ears are.

...in Dobbly, presumably

Can’t find a thread dedicated to gig pics so thought it was worth starting one. Anything goes from phone pics to full on art shots. A couple to start, one by a mate and one grabbed by myself as we were getting ready.

50th Birthday arriving this summer, so i've decided to get get myself another bass. Way back in 1989 i was in a music shop in Glasgow with only £500 and wished i had enough for a Wal selling for £800ish. That's an itch that hasn't gone away. Well it's now 29 years later and i think that's enough dilly dallying . With that in mind i thought i would test my resolve by asking the gentlemen of this parish two things What would you buy yourself for a 50th birthday prezzy? What bass has always called out to you, but could never afford it? For me it's a 5 string Wal

I'm not sure it's really 'high' end, but it's the tallest I've got right now if I stack them that way I borrowed a D800 for a few days, and I much prefer the D800+. I found the D800 was a bit too dark by default and turning treble up didn't quite fix it. The D800+ has a bright switch with is permanently on in mine (and no, I don't go for a very bright tone at all). Then there's the semiparametric lo/hi mids, which is nice, and especially the HPF. The RCF sounds like a nice solution, to be honest. But I'm *very* happy with the Mesa/BF combination, especially as I do play a few gigs where I don't use PA support. Live clips... ha! No... nothing using this... in fact we don't have any recent clips at all. We're due to record our third album this year but we still haven't booked the studio and knowing us... it might not happen. But our trumpet player is moving to CHINA in August, so we should really record something. Anyway, we plan to record a gig on May 12th. Nothing too fancy, just getting the separate tracks from the desk for audio and having a few cameras around. It's at a venue where I generally use their stuff (Orange Terror 500 head and matching 410). I will use my head this time, but not bother with the BF cabs as I'll just be DI, so no much point. So, in short... no, no clips yet and no plans for any proper ones showing the Mesa/BF combination... but there will be some clips at least. I bet I'll make 5 mistakes per song this time. Still, the beauty of playing originals: I can always say I meant it that way

Of course! And that's what I did too. I was merely anticipating the almost inevitable "on this threads everybody just suggests what they use" Like you say, there's a reason why people arrive at what they use. If I thought that my previous rig was better... it would not be my PREVIOUS rig

Another gig - more a disater averted this time - - this time at a community hall in Sneek in Holland. The stage was about six foot high but wasn't the full width of the hall. At the sides were loads of those stacking plastic chairs packed into the space between the stage and the side wall. Mid set, mid song - stage lighting blackout - I'm wandering around when I wander off the side of the stage toppling into the piles of plastic chairs......still playing! ...I'm back on my feet and back on the stage before the stage is fully relit! yes I had indulged in the local wares before going on....probably didn't sound quite as good as I thought at the time

I did a gig on 8 pints once. I sounded great. No one else thought so.

Thank you for all your good wishes for my recovery. In a bizarre stroke of luck, the PA pole fell in such a way that, with my back to it (I was adjusting my amp), although I didn't see it coming the speaker missed my head and the pole fell against my shoulder. Comfortable it was not, and you can hear Silvie shriek my name to warn me since it really did look lethal, but in fact I was completely unharmed, Paul the Drums leapt up to take the PA back upright, and we launched straight into Delilah.

We were playing the old Wardour Street Marquee back in the 80s..we'd got a few bars into the first track of the set and a full glass of lager comes flying out of the crowd and smashes on the keyboard which promptly packed up. We struggled on through the whole set without the keys, hating much of it to be honest .... but we were told afterwards that it was the best gig we'd played for ages!

I'm not sure about the borders. Coat in hand

Yup, I get that completely. I have two metronomes - a silly bleeping box that lives in my gig bag for emergencies, plus a clockwork one that I keep in the music room. That gets used a lot. Even when I've got my cans on or am playing louder than usual, being able to follow the pendulum helps keep me in time, even when I'm playing off a score and watching it from the corner of my eye. I got used to that when I played the trumpet; inevitably the blare would drown the click, but following the movement soon became second nature. I used to put it on a shelf above my music stand, so I could see both at the same time. Clockwork metronomes rock!

Yeah *keeps safe distance* - if you can hear it glowing, it's too much.

I have the day of this week, I have been fairly ill, but not ill enough to be off work, just ill enough to not sleep because I am coughing too much, and as it is nice now and it won't be for long, I thought I would take the day off. Because I just decided I didn't have anything I needed to do, so I sat in the garden and decided to shape the headstock. Found out loads of things. A router is way to agressive for doing these things unless you have a routing table, that I haven't. Cutting towards the end of the wood can cause the wood to come apart in an unpleasant way A dremel is much better than it seems I only possess 2 chisels and 2 files (I have a load of little rat tail files, but not really useful here), which is news to me, I though it was a lot more. They seem to have gone. Of the 4, one chisel is a little blunt, one has obviously been used to open cans and brute force things, so it useless. Both files are good, but one is too small to be useful in this case. Ultimately, however good your power tools, if you don't have a whole workshop, the end bits you need to do by hand. So off out to get some new chisels, a slightly roundy wood file and maybe some kind of hand planey thing. I have decided after a brief moment of indecision, that I will post the pictures however bad it goes, because when I have looked on here before everyone is way better than me, so I am here as a beacon of how not to do it, or what happens when you don't know how to do it Nice day for it though!

I call them " people who own drum kits".

Another vote for Zilla. I've had 2 of their guitar cabs and they've always been excellent. They did have some email issues a little while ago. Pick the phone up. Paul is a great guy and easy to chat with about exactly what you want.

Loving these stories. Solid gold. I reckon this is the best thread we've had in ages.

Sorry, sorry, sorry... I should know my place!

I tried a different piece of wood today, which has a slight coating already just like sanding sealer would be. I shook the can all the way into work and shot a quick stripe over the test piece once I arrived. Results were better, pictures at lunchtime as it was too wet to judge fully Picture 1 left side untouched, right side two thin coats Picture 2 thin grain filler, unsanded

The B3 is built for idiots... so it's great for me. I have a patch set for each tune and treat it like 3 pedals for each. I have the Zoom expression pedal and find it a really useful addition. Some patches I just use it as a volume pedal, which is useful enough in itself, I also use it assigned to pitch shift. My favourite though, in a one guitar band is to assign it to gain on the Sansamp sim. I have the sim set for the bulk of the tune but then use the pedal to slide in a little more grunt when the guitard isn't filling out the song so much in solo passages.

It’s quality Mate, so glad you are happy with it, I know what a fussy madam you can be!

As a bassist, I wouldn't. As part of a rhythm section I would have no objection to working with a drummer who uses one for the count-in. In fact, I'd feel better in that situation. I think it's important to know that you are on tempo, even if you are consistent and accurate on your own. As an advanced motorcyclist, I could ride to speed limits to within a unit or two of any of the national speed limits without looking at my speedometer. Engine vibes and string vibes are similar in that you can feel their frequency and regulate accordingly. The difference being that you wont get unwelcome attention from plod for drumming without a clock. It's nice if a band gels and tempo is never an issue. Getting there is the trick.

No problem, I'm as direct as you are.

Good evening, Phil, and ... Plenty to read and amuse you here, and lots to learn and share.

Even at small venues I go through the pa these days, if the venue is big enough for a sound engineer you should be aiming to keep your amp volume lower than the pa. The bigger the venue the quieter the stage

I'm keeping myself busy at the moment with this. Bwahaaahhaaa!!

!!!!! Look what arrived

They recovered my fender amp and cab and made new grill cloth frames for me a couple of years ago. Did a first class job and good service.