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So the brown note is (very likely) a myth, but if anyone's feeling particularly mischevious, I am assured that the same effect can be achieved by pressing a certain nerve ending on the body. I used to know a karate instructor who took a voracious interest in the Eastern philosophies around the martial arts (mainly, we suspect, as a means to further his similarly-enthusiastic-and-possibly-not-entirely-healthy interest in Asian ladies...), and his studies had led him to a lot of theories and teachings about pressure points. Apparently he spent an afternoon with his brother (also a martial arts enthusiast) working through the points described in one book. Upon testing one point, his brother had told him to stop quite urgently, because he could suddenly feel his sphincters relaxing. He steadfastly refused to tell us where it was...

Totally unpredictable! Sometimes you can play a supposedly great venue which has an excellent reputation, and it just doesn't work out. Could be the band members, the audience, the equipment... On the other hand, you can end up playing somewhere that nobody really wants to play, maybe on a bad night (weather-wise, or a clash with some big event...) and everything just comes together to make an outstanding time! For me, it is not about money (although that is not to say that I don't want or need to be paid!), but the enjoyment comes from the buzz. Where does the buzz come from? Well, usually rapport with your bandmates and playing the songs well, a receptive audience who are genuinely enjoying themselves, a good sounding room with plenty of feedback (of the right kind!), an appreciative venue owner/manager, good lighting, the correct temperature.... I could go on, but it is very difficult to quantify. Mostly, I think, it is about the audience. The problem is, if you turn up expecting all that - it rarely happens. Most of my "great" gigs have been surprises!

Well technically it’s NTMBASHBD (New To Me But Actually Second Hand Bass Day). Alright, this was Wednesday but as close as damn it. I posted a while back asking for recommendations for a short scale lined fretless bass, @ikay was kind enough to point out that two fretless Rob Allen Mouse (should this be mice) basses were for sale on here. I feel very lucky to have purchased one of these from the scholar and gentleman @WishIcouldplay. Anyway, I had never tried an RA Mouse before, never seen one or heard one (apart from online, obv.) but I love the look of them from pics so With a pocket full of wonga I headed off to try it out. Just seeing it on its stand was enough, what a beautiful thing. I tried it as in slid one note up a tone on the G and I was in love. I dropped in on my musical collaborator on the way home and played our latest song using it, glorious. Yesterday I got home from work about 6 and went straight to the study, plugged it in and started noodling, when I looked up again I was surprised to see it was dark, a look at the clock, 10:44! I have never owned a hand made instrument before, what a thing, it’s like playing a work of art, bass lines and tunes are falling out of it, I am actually smitten... ...now I need a fretted one.

I am not a big fan of Moondance.

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At The Drive In's performance of One Armed Scissor on Jules seems to have disappeared off YouTube, which is a shame as its brilliant

A good gig is the band playing well and the audience enjoying it. A GREAT gig is when the magic happens. That all too rare night when everyone in the band is "On" and the musicians are almost telepathic. When everything you touch turns to musical gold and the components of the band fit together like a Swiss watch. When even one or two of the songs you have played for years, and are not that fussed about, just take off. The audience picks up on this and you can feel the energy flowing back onto the stage, adding more fuel to the bands fire and lifting things even higher. It can be in the local pub or the local arena, whatever, the feeling is the same, emotion and energy. That is a great gig.

Right, the Dunlop Flatwounds are on! Thought I’d give the fretboard a bit of a clean between string sets but it didn’t seem to need it. Really loving the added low mid thump the flats are giving me at every pickup setting. And of course they’re nice and easy on the fingers compared to the Roto Steels - not that the Rotos were particularly harsh but you get smooth comfort for free with flats, obviously. The tension isn’t vastly different from the Rotos and they have a decent amount of high end, giving me a nice clank when switching the preamp to active with the treble boosted. Very, very nice. So, at present my bass lineup is: Sandberg VM5 with Dunlop Stainless Steel Flats MTD Super 5 with Dunlop Superbright Nickel Rounds Sanberg Electra VS4 with LaBella 750N Black Nylon Tapes A lovely trifecta of tone machines!

Discovered a great big hole, and the exposed edge of the photo flame paper. I made a video about that too... ...and today I lacquered the neck with amber tint nitrocellulose, sprayed the scratchplate white, and ordered the headstock decal.

True, they had to quickly run out and buy a rock music record to cover the dreary wailing noise, good point

No, and no. Simply because the vast proportion of the sound of a bass (5 string or otherwise) which we enjoy lies well above 30-40hz in the frequency spectrum. Have a listen to the following videos and let us know if you still think the liberal addition of this to your bass guitar sound is of benefit to you in any playing situation. Take note that they are sine waves, meaning these tones have pretty much zero harmonic content or overtones. Note how, despite the volume of your speakers/headphones being set at a perfectly enjoyable and audible level for listening to other things (music, videos etc), these sine wave tones are relatively much more difficult to hear. “Why is that?” I hear you cry. I invite you to reread the thread and again take note of the several BCers who have attempted in vain to make clear the necessity of overtones relative to the fundamental in making notes audible. Especially the lowest notes. Yes, as a 5 string bassist we are losing something by not playing through a rig which can handle 30hz at gig volume. We’re losing a portion of our sound which not only makes mixing us more difficult but at the same time fails to increase our ability to be heard.

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This is what I'm using with my Wal. Front pickup on 10, bridge pickup pulled and on 7.

For me, a great gig is one where the band is working well together and the audience 'gets is'. My first gig with the Grateful Dudes last Easter was a good example, everything slotted together well on stage, plenty of Dead-style jamming, audience dancing like dervishes, people queuing to buy shirts and shake our hands, that was a great gig. The 4 hour drive home was less great, but didn't take away the buss the gig left me with.

I would not worry about that. It's merely a pad switch. The label seems to imply active = higher output, which is simply not true. Active and passive basses come in all sorts of outputs and there's no hard rule about it. For example, my Stingray is not particularly high output, it matches a passive Precision / Jazz quite well... G&L L2000 in passive mode is one of the loudest things on Earth,, louder than any active bass I've ever owned. Neodymium Entwistle pickups make any passive bass scream... etc. Of course, if you boost the low end control to max on active basses, you're probably going to overload a normal input... In other words, it's not active/passive... but down to individual designs and what you do with them too. I always try the passive option first, and only if it overloads the input I switch to 'active' input. Engaging the 'active' input never sounds as nice, if the amp can take your bass in the 'passive' input, in my experience. I prefer amps with simply an input gain control (many these days)... then you simply adjust the input gain to suit.

I'm doing this remembering repairing kit back in the very early 70's, well 1970 actually. My memory may be a bit iffy at that distance. Compression is something valve amps do naturally partly down to the valves themselves but also due to the saturation of the output transformer. Basically they just peter out as the output rises giving a nice soft sounding distortion as they over loaded. Guitarists used this to create all the sounds of early rock music. Combined with the feedback you get at ridiculously high levels it also gave them a lot of sustain to play with. Everyone forgets that most of these amps were pretty unreliable and a band running four valve amps on stage plus often valve PA amps was experiencing a lot of technical failures. Plus back problems from carrying the amps. Having 20 KT88's on stage was a nightmare to be honest. Transistor amps were coming in by then WEM (not much more reliable) and later HH for PA followed by early guitar and bass versions. They were certainly cheaper and quickly became more reliable but transistor amps really distort unpleasantly when overloaded so we looked for a way of getting that gentle overload that the old amps gave. Compression was what was needed so compression on instrument amps started as an effect to give 'valve sound' The first compressors I encountered used ordinary car bulbs to compress the sound. At high power they get hot and their resistance goes up, put the signal through a bulb pick it up with a photocell and bingo, compression. The next stage was a voltage controlled amplifier. Take the output and use it to control the volume or gain of the amp and you get compression. These were often adapted from tape recorder automatic volume circuits and used FET's as the controlling element. By about 1974 integrated circuits took over thousands of components in a single package. You could get undistorted compression at will but you wouldn't do that complexity with valves. So you wouldn't simulate valve sound with valves for obvious reasons. They still make optical compressors as an effect but with VCA's you can get completely controllable compression which is largely done digitally nowadays anyway. Valve based computer anyone? If anyone is interested https://www.soundonsound.com/sound-advice/q-what-optical-compression

That sums it up pretty much perfectly

Well, I haven't any specific plans, but I am pretty sure I will do by the time I finished! It is very enjoyable to do so it would seem unlikely that there wouldn't be.

No wall, but ready to hit the road in my trusted transit ( long base, double wheel btw) Happy days

I don't - holding a grudge is an important thing in life

Gentlemen, I can't help but admire your brickwork! I'm 2nd left circa 1994.

I am really enjoying the Wal tone on this video I did what just appeared on YouTube. It was di'd so this is the 'studio' sound.

Never seen the words 'stunning' and 'Bongo' in the same sentence before. However that does look rather pretty. The headstock shape does still remind me of Peppa Pig's head, though.

For anyone who’s feeling flush, Glou Glou is having a sale - €120 discount on his pedals: https://glou-glou.org/ As @tonyxtiger will attest, the Rendez-Vous is a fantastic pedal.

Much overlooked, John McVie. Solid as a rock for the whole song and then he drops that playful little riff at 2.21. I love those little moments of joy in music 😊

That is gorgeous! Nowt else to say really

I much prefer the sound/feel of my £70 Harley Benton PB-50s to my T-20 or Fury. Single coil P-bass with flats or tapes has been my thing for a good while now. Put flats on a Cirrus,to be expected it didn't sound remotely close to a SC P-bass with flats

Just started with a Billy Joel Tribute Band. Three rehearsals and yesterday evening our first concert and it has been an amazing pleasure playing all these great basslines.

You're asking the wrong questions. Someone pointed out earlier than the BF cabs have a very wide response range, greater than many out there...FRFR was mentioned. The cab will put out what you put into it. If you EQ a lot of sub bass, you will find that's a bad thing for a bass backline cab in a band scenario. That has got nothing to do with Barefaced. I'd like to know what car you drive, because if it's capable of more than 60mph then by your reasoning it should have been avoided, because driving at 60mph in a car park will mean bad things will happen.

Just picked mine up today, really impressed, it has so many pockets! Whilst it's not slim-line like my Protection Racket (£130) and Mono Gig Sleeves(£55) for the money it is a cracking case. Many thanks to the OP for the alert!

It has 8 bids already, hope it reaches a tidy sum for Ellen. I have a friend dealing with this same type of cancer at the moment, she has had a hellish time of it

Ah, you utter b*****d. I'd almost completely blanked out The Power of Love from my memory until I read this.

Ooh Helix stationery: it’s like school woodwork class again!

I was kidding, the genuine answer is 0.

Actually very sensible. These sorts of things can only really proven by testing. Going one step further, in acoustics we rely on measurements as well as our ears to see and hear what’s going on. As mentioned above, here’s the frequency response in my room where the low end is driven by a 12” subwoofer rated down to 22Hz… and bear in mind this is a highly accurate studio sub, not some PA-hire bass bin: Not much happening at 22hz is there? And I'd be very surprised if there was. So unless you’re playing through gigantic, stadium-size speakers, I doubt anyone here will find anything useful going on below 30-40Hz on their bass rig either. Which is absolutely fine, because sub-30Hz we're into whale-song-brown-note territory where the best thing to do in 99% of cases is just roll it off. PS: there's an urban myth that the actual brown-note frequency (at which you may poop yourself) is 7Hz; and another theory that playing 7Hz at sufficient dB can kill someone. Both theories are of course utter bovine manure, but kudos to anyone willing to experiment

One where I get paid. 😜

As a swift end to all this hypothesising, Barefaced let you trial their cabs for a period of time. Do that. Trial a BB2 and compare it to your other cabs at gigging volumes, with your basses, through your pedalboard. If you like what you hear then buy one and sell off your other cabs! Otherwise this is all just hot air taking up space on @ped‘s server

The point I was making about octavers was that the sound some of them produce relies more heavily on the fundamental note frequency than bass guitars do. Hence, for that specific use, you’ll see more tangible benefits to having a cab which can “really” produce 30hz and below at volume. The benefits of super low frequency extension in a bass guitar application aren’t nearly as great - proven by the millions of bassists out there who are happily able to hear their low notes on 5 string basses played through all sorts of cabs not rated anywhere near 30hz. And by those of us who hate it when we go to a gig and the bass tone is an indistinguishable “boom-boom-sub-sub” mess. We all know that in a gig situation if we are struggling to hear ourselves one of the quickest and most effective remedies is to turn up the Mid knobs a bit, sometimes even in conjunction with turning down the Low knob a bit. It is literal scientific fact that human ears are less sensitive to lower frequencies and more sensitive to higher frequencies. So with that in mind, why the obsession with super low frequency response as an aid to hearing your bass guitar? Again, I stress the word guitar so as to differentiate from synth sounds. I guarantee if you email Alex Claber he will inform you of the great dispersion characteristics of his Big Baby 2 and Big Twin 2 cabs. He absolutely won’t, however, attribute that great dispersion to the 30hz frequency response.

I've got TIs on mine, they're perfect on that bass. They are relatively expensive but you only have to buy them once - I've had a set on my P Bass for nearly 10 years!

That's all well and good , but did you all do Lois Griffin

No need to be respectful, you're welcome to your opinion. My personal experience from local bands that comment on stands has always come from bands that have been playing the same set for years on end, there's not that many words in Freebird anyway, lol.

Certainly yes I agree, as I said earlier I think most of the people (musicians) that have an issue with music stands are those that haven't got anything in their set dating from 1985 onwards.

My current faker projects: 1. A Hondo II. 2. A CMI.

I leave everything on the amp flat and control the tone through the active EQ on the bass. Not that there's a right or a wrong way to do these things.

I don’t actually have much personal experience of Rays first hand so as far as the tone of the Solo’d MM pickup I don’t have a particular frame of reference. What I will say though is that it isn’t only useful as a blending option with the P - it’s actually an incredibly useful sound in its own right. I’ve found myself playing along to tracks with a dense mix of instruments and soloing the MM has given me the perfect starting tone that cuts through the mix better than any other pup setting.

I was a founding member, and spent 26 years, with a KISS tribute band. We wore the full outfits and boots (custom made and VERY expensive), had custom guitars made (and existing guitars customised) and took the musical/vocal/arrangement accuracy very seriously. To me, that's what makes a 'tribute' band, rather than a 'cover' band. I even went as far as to learn firebreathing and we filled our performances with the expected pyrotechnics too.... It all paid off though... We were the first KISS tribute to perform all over Europe & Scandinavia and played numerous international fan conventions too. Over the years we played with, played for and/or appeared with almost all original and latter members of KISS as well as appearing on both of Gene Simmons worldwide TV shows. We performed for the Red Hot Chili Peppers and Def Leppard, headlined festivals and launched products (Volvo etc). We also performed at music 'trade shows', played Halloween at the Cafe De Paris in Monaco and toured Japan with The Bootleg Beatles, Counterfeit Stones, T-Rextasy and Royal Family (Queen show), gaining endorsements from Washburn, Ibanez, Cort and Spector along the way.... We even discovered that KISS were keeping up date with our performances and later found that a mid song breakdown/arrangement I had created had been adopted by KISS themselves in their live show! It was very hard work, but great fun and gave me life experiences that will stay with me forever. I also spent spare time in originals bands and cover bands over the years so have seen both sides.... Tribute haters gonna hate...... usually from their bedrooms...... but I guarantee I worked 10 times harder during every 2hr tribute show than haters ever have onstage....

First of all,its my honor that bass players and builders are talking about my bass. In the end of the build i will thank all the people that helped me with this,because behind of this build,are so many great guys hidden,who helped me with their knowledge I will see if i can edit the earlier posts and upload again the pictures. This bass,actually,is not an ergonomic bass. The 2 main reasons,are dimensions and weight. If a person need ergonomic bass,he must look for max 30" scale.The smaller the scale,the smaller the frets,and easier to play This bass because of the bigger scale,have more wood than a common bass guitar and that means it weights more. I will try to make 36mm body thickness to lose weight. I am not a luthier,just a DIYer. In the beginning,i wanted to build a multiscale.Also a headless.So,i make the decision to build a multiscale-headless. From my previous 40" build,i know that if a bass be longer than 40",the wrist on the left hand is gonna be i difficult position.So it must be torzal neck. I choose to put all these in one single build,just for the fun and the challenge to see if i can make it. There are still things that i didn't know how i will do,but as the build is going on,i see what it will be nice or good,and do it. Tha playing positions are these at the pictures.The neck is angled,but there is nothing to rest the right hand like the normal basses,which i like,but there are so many players,that don't rest their right hand on the bass

A lot of the Joy Division stuff is quite sparse. This one is "24 hours", from their "Atmosphere" LP I'm not sure the whole thing would be counted / defined as sparse - but the quieter / slower sections certainly are Great sound and feeling of space, in a fairly sparse bass-line - nice melody too, in which the bass is the "key" instrument