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well things have been progressing slowly but surely... first of all ive sanded down the pickup covers: from this: to this: very pleased with them, i think they'll be a nice touch once verything is nice and finished up! i do need to get some gold pickup screws, as they came with silver ones so they match the rest of the hardware. also, got he headstock plate glued on with some more alaldite (the saviour of the man trying to glue cocobolo to anything): the purpose of the huge cutout for the Truss rod cover is so i can have a flush fitting one made of padauk. I love the look of padauk, but im trying to keep it's inclusion in this build to some subtle highlights here and there. along with the truss rod cover, im going to put a thin sheet in between the back piece of cocbolo and the wenge core of the body, and possibly along the edges of the fretboard as well. its such a bright colour when its finsihed, and although the figure of the cocobolo is pretty striking, all the other woods in this build are a bit more subdued in terms of their colours. speaking of which: the padauk glued to the back of the wenge. at the moment, that is just roughly cut back with a knife and some rough sandpaper, so theres a couple of rough edges where i had to glue some chipped off bits back on. its 1.5mm thick, but splits along the grain so easily. and i cut the pickup holes and neck pocket from the top piece of cocobolo while i was cutting the F hole with a fret saw: couldnt resist dropping the pickups in just to see how they looked, you can see from the picture how much the body wood has darkened since it was cut, against the freshly sanded pickups! and one bit of self indulgance deserves another, once i got home i layed everything on top of eachother together: its just about starting to look like a bass - exciting times! will be moving onto the bigsby at some point this week. the plan is to machine a new string bar with 4 holes spaced to match the schaller 462 roller bridge - about 16.5 mm. then, once the top is glued... itll be time to cut the binding channel (Gulp!!) im a big fan of the "bound on the top, round on the back" look, a bit like the fender aerodyne, so the top and F hole will be bound with a combination of ebony and tulipwood: the colours will give a nice compliment to the cocobolo i think, without being too light. i wanted to keep it all fairly dark for this build. stay tuned!

It’s easier if you play notes rather than frets or string numbers.

Went up to Exeter today to have a look at a few basses. Not really getting on with my MIM p bass and as I’m back in a band again I thought I’d have a look around, try a few and see what I like. I was expecting to be coming home with, if anything, an Ibanez SR as I had an SR600 in the last band and quite liked it. Anyway I tried a few out today - Rockbass NT Streamer MIM jazz Aerodyne Jazz ibanez SR500 Mustang PJ And this Ray 34 that was heavily discounted at Project Music. I’d never played a stingray type bass before but always been interested. Once I’d played it I kept coming back to it and nothing else seemed to have as good a combination of playability and tone for me. Pretty versatile tone wise too. Can’t believe the punch, definition and clarity. I absolutely love the neck on this. The notes seem to just flow out of my fingers! ! Very happy and can’t wait to try it out at band practice this week. cant stop playing bullet in the head!

Been thinking about a compact low wattage/valvey set up for home practice for a while. Two things happened over the last fortnight that turned it into a reality : Local dealer dropped the new price on the Ampeg PF20-T and then these two Ashdown cabs came up for sale 2nd hand just along the road from someone who it turns out is a friend of a friend. The cabs are RM110's but they've had Ashdown CL/AAA red grilles added which I think makes them look pretty classy. In fact it's pretty enough that I'm allowed to keep it in the dining room and don't have to relegate it to the spare room! Sounds-wise is really lovely and warm - especially with my flatwound loaded P with the tone nearly all the way off. Perfect output and volume for home practice as I can get the tone without waking the neighbourhood. I'm a happy bunny.

It obviously worked, but an OBBM cable would have worked better.

It would also show I can afford to buy underpants, not like poor Mr Kravitz.

What’s the point in Internet forums if you can’t overthink things, discuss stuff that’s broadly irrelevant for hours on end, or postulate opinions and discuss minute details on stuff you’re unlikely to ever own or use? 😁

@eude and I have opted for a bookmatched katalox headstock plate and a flurry of screaming AJR swifts. The plate will end up the same colour as the body once it's sanded and finished but this is broadly how it will look: This was also a good test of how well my little bandsaw can cut the katalox into a 2mm slice. Worked well which means that I can do the same for a contrasting katalox cover for the control chamber at the back (with magnets for easy access). I have an offcut of katalox which is JUST big enough (phew!)

Nobody? Ok - this is coming next week...

The magic words were uttered from the other side of the room tonight, "Turn that f^@¥!ng thing down I can't hear my amp..." (OR100) 😊😊🤣🤣

Funnily enough, I’ve got a gig as a drummer, where I’ve been a bassist forever. Looking forward to the switcheroo. It’ll be temporary, of course. Unless I join drumchat, then develop an insatiable thirst for the ultimate drum tone, buying and selling and fretting over tiny details that no one will notice.

I'm still perplexed as to why you keep saying things like "fake news" 2000W amp" when no definitive proof has been offered that it's not the 2000 watts PEAK that Bugera claims.

I know this doesn’t have any bass on (yet!) but this is my new arrangement of a fantastic tune called “kishor’s tune by a Breton guitarist called Soig Siberil. I’ve wanted to play this tune for years, but it’s always been just beyond me. Well, finally did my own version. Rough, one take recording just using ipad Robbie

I'm assuming the test was carried out around 11am when it was nice and quiet.

You would probably be better off starting a new thread. The title of this thread is rather uncomplimentary. 😊

Strange one last night. Pub wasn't ready for us so we ended up setting up in a rush. No proper sound check. I basically plugged in and played tweaking the sound of the Veyron as I went along. Thought I'd be eating my words. Could not get any of that elusive heft from it. Sound was just a bit gutless. Turns out I'd wound the compressor/limiter knob way up to nearly one o'clock. In the break I had another look and dialled it right back and presto! Heft, weight, depth, ooomph, boom, bang and wallop a plenty.

The main thing is to be sure you know what you are looking for, that applies to any audition and pretty much any job interview. A new singer is probably the most disruptive thing that can happen to most bands. If they sound good the whole band sounds good and if they aren't it won't matter how well the rest of you play audiences won't enjoy what you do. On top of that voices are far less flexible than most instruments. Capo-ing a singers neck is probably illegal Is it important to you to keep your current set? If so then you really ought to put them through their paces with the whole vocal range of your songs. We've had singers who have struggled with fast articulation (lots of words in the line) some where the lower range is weaker other where top notes are the problem, you need to think about what is important to you as a band and pick out some songs which will explore this at the audition. Then you need to find out if these people will be good to have in the band, that isn't just about how charming and friendly they are, most of us can do that for an hour or so if pushed. Are they going to practice before rehearsals? That'd be one of my criteria so I'd want at least one song they are unlikely to have sung before, you'll soon see who is blagging and who is prepared. Again what is important to you? You also want to be fair to them and see them at their best. It'd be a shame to pass up on the next Freddie Mercury because you didn't let them show what they can do! Let them choose at least one song, maybe it will have to be from your set list or sung with just a simple accompaniment so the whole band don't have to learn a new song for each singer. So go through a list of things that are essential to you and things you think are desirable and make sure your audition songs will give you the chance to explore that. Also make sure the band are ready, I've gone to auditions with agreed songs to find out half the band members don't really know the songs or haven't played them for years and have done zero preparation. Good Luck

These are the ones on my recent acoustic build. It is a mixed set of the new lightweight ones that Axesrus have had specially made for them. They are a nice design and work well. The previous build to the acoustic was for my sister-in-law and she wanted a black and gold mix so I had a set of gold and black spare parts left over which I thought may as well go into my 'bitsa' acoustic build

So, could I wait 36 hours? Could I b***ery Thing is, one of the remaining major co*k up potentials is fitting the machine screws. It has to be right because there's no wiggle room with machine screws. The inserts have to be absolutely in the right position and absolutely vertical. So rather than worry about it, it was better to just do it. First I dowelled the previous holes - they were originally drilled to 5mm and the machine screws are 4mm and they weren't quite in line with where the neck is now going to be: Then remeasured and drilled the holes for the stainless machined ferrules: Next, drilled the 4mm holes, using my mini press drill to keep it all vertical: Used the point of the wood drill to mark the exact centres on the assembled neck though the body, used some packers to make sure I was square to the mating face incorporating the neck angle, drilled a 6mm hole and fitted the machine screw inserts: Then moment of truth - would it all line up and would the machine screws fit (trust me, they usually don't!). Another 'knock me down with a feather' moment: And THAT means I can look to fit the fretboard very soon and start the neck and heel carve!

We have the odd discussion here about social media, whether to get payment on the door, dodgy venues etc. I thought you'd all enjoy this story: https://www.bristolpost.co.uk/whats-on/music-nightlife/rock-band-creates-fake-fan-2204472

Following the Shuker becoming sick (off to hospital for surgery on Monday) Mrs B felt a new bass might make me feel better. Decided it’s time to do a 5er. I’ve been chatting to Alan at ACG and he’s got a couple of options which look superb. Being an insecure chap I just thought I’d check - I’m not going to turn in to a prog rock long haired muso or a nicely suited Jazz muso if I get a 5er am I? TIA

Food for thought. You gave me many good points to consider. Thanks project_c

I play 4s, 5s & 6s. To me, the biggest technical consideration is simply muting, everything else is comfortable after a couple of hours shedding on the instrument (which I do with all of them regularly). As has been said, if you see your bass as a collection of notes capable of music, the number of strings/frets becomes superfluous info. If you don’t know where the notes are on the neck, and you’re simply playing learned basslines, that’s when swapping between them becomes a slightly harder prospect IMO. Si

My first ever full bass rig, since I'm now playing bass in my current band project 👍

A rubbish player can have all the fancy gear but sound awful. An exceptionally good player can make sound a cheap/basic gear jaw dropping.

There’s a bit of me that fancies a “hefty” amp for the music room... hmmm maybe I need some cheap “Trace” watts

Whoops ! I seriously can’t type on an iPad. I meant “did” not “didn’t”. Phew, glad we cleared that up!

Looks great.. but heavy!

Going out now but one very quick point to add about graphics: tab and/or notation might be a thought too. Opinions differ around here as to which is best, but in this situation both could prove useful.

I watched video 9. Mostly it's to do with fine tuning your presentation. As to point 4 I was thinking more of graphics to show finger placements, hand position and related matters. You could use photos or ViV but yes, something to give your students a closer look at what your hands are doing.

Just to let you know that, on my system, the sound is extremely low. I've been listening to other U-tubes this evening, so I don't think the issue is at my end. Get it checked, maybe..? Just sayin', hope this helps, and good luck with the project.

Surely "Totally agree, period" ?

Well, I have seen and felt similar problems with certain pedals. A fuzz or an od needs just few mA, while some DSP based units may need nearly 500 mA. In a pedal format, yes. Some distortion/od/fuzzes like this "battery dead" type of use but not anything that is far more complicated and/or digital. The situation could be compared to a Ferrari with a Trabant motor. Cool looks, sad sound and terrible performance. A powerful transformer can be a low cost unit after all, so please consider carefully if you really are unable to invest few coins to one. I have three of those cheapo onespots for three boards.

Ooh yes, that’s a classy setup you have there sir!

Pulled the trigger. Waiting for confirmation. Ten dorra for anyone who can guess what it is.

Very puzzled by the suggestions that you should only ask the singer to prepare two songs. Unless you're doing originals or very obscure covers, any decent singer should have no trouble at all prepping at least a dozen songs ... all he/she needs to learn is the melody, the rest is down to how they present the song. If you ask each singer to turn up at a 2-hour slot having prepped two songs, you'd better hope they're also a great conversationalist, since you're going to be spending three quarters of the 'audition' just chatting. You could start the weeding-out process by asking each applicant how many songs they would like to prep. I would discard anyone who only wanted to do two!

Go here, there are 2 versions: 1 - with only multiple velocity layers which sounds great 2- With multiple velocity layers and round robins which uses more resources but sounds amazing It's a vintage Ludwig kit, they created the GUI for Kontakt and Sforzando and a template for Reaper. https://smmdrums.wordpress.com/for-reaper/ Download, open it in Reaper and press play. You'll be amazed at how great it sounds. Don't forget the manual it explains how to use it in your mixes.

Had a request competition from my email subscribers and here's the winning entry - George Porter Jr in fine form... The Meters - 'Funkify Your Life' Transcription

Who remembers the video game Bioshock? This amp wouldn’t look out of place in Rapture.

It's maybe a question of virtuosity, or lack of it..? For the stuff I play, the physics of the instrument are of little consequence, as that's not what prevents me from being any good..! Fat neck, thin neck, string spacing and/or number... I'm not likely to be putting any pressure on Stanley Clark any time soon; they all get played with a similar degree of incompetence. As I play guitar as often as bass, I've always been used to not getting locked in to any particular configuration. Downsides..? Certainly, but far greater freedom to being able to play (modestly...) pretty well any bass, or guitar. I would have more issues swapping drum kits, though, as I've always played mine, pretty much exclusively, for fifty years or so. S'what one is used to, s'all, I reckon.

In the old days.. when I gigged (it was that long ago!) it might have looked a bit like this :- Sometimes, when I'm noodling about indoors, it looks quite a lot like this:- But mostly these days.. because I don't get out much.. it's just me.. a pre-amp, some effects and a pair of headphones:-

Happy happy joy joy

Excuse the amount of pics, but a past to present.