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Your lack of reggae influence is disturbing... 😁

Glockenspiel, Marimba and the Oud, mostly in the capacity of performing post-modernist marxist neo-soul jazz opera in the style of the Gypsy Kings meets Pantera.

Not the album. I just love em. . They always come out with the finest. imo.

I posted in a similar vein last month. on Monday I meet a new band. hard to tell what can be around the corner

Something like this :

The BB3000 was the top of the range Japanese - made bass in the early/ mid 1980's and was a fantastic bass. It had its own distinctive tone, and the neck-thru construction probably played a big part in that. Compared to a traditional Fender-style PJ, the classic Yamaha BB's have a much wider frequency range. The bass goes deeper, the midrange is rich and complex, and the treble is extended. A Fender -style bass sounds a bit muted by comparison. That is not necessarily a bad thing, by the way, but a Yamaha has a very different tone, for better or worse, depending on your taste.

Hotel California.... Just saying' 😀 You can check out, but you can never leave (There is a much deeper story from me, but another day mebbe.)

Have you ever tried playing Reggae on an Oud? 🙉

Managed to knock off 3 of the remaining 14 jobs on this, including installing some blue luminlays: Assuming I remembered correctly, @eude wanted the dots on the fretlines rather than between. Assuming I didn't remember correctly, it makes no difference... @eude is getting the dots on the fretlines Probably going to start the final sanding and finishing pretty soon, then that can be hardening off while I finish the other bits and pieces.

Does this mean that soldiers in blue berets are going to be dispatched to escort fat middle aged white blokes off stage for being most of UB40? Fixed.

Finally joined the club!

Friday night randomness happened, aided by gin.

I think a lot of us have felt the same over the years. I had a long period where I barely touched a bass through university and just played excessive amounts of soppy, mopey drivel on acoustic guitar. I love acoustic guitar and always keep one freshly strung and ready to go at home. Enjoy your acoustic playing, go and get yourself a lovely acoustic with the money you get from bass gear sales and go and get a real cheap playable bass to our in the corner just in case.

Oooof! Always loved that one. Was going to post it myself. So many, but: Ewan Vernal (Deacon Blue days) - virtually anything... (Warwick?) Meshell Ndegeocello - Bittersweet (Fender Jazz heaven) Mark King - The Pursuit of Accidents / Dance on Heavy Weather (gritty flanged Jaydee) Richard Nolan (It Bites) - Midnight (Zon Legacy?) Jamiroquai ‘Radio’ - not sure who plays on this but P bass burpiness Bobby Watson - Rock With You Will Lee - Walk Between the Raindrops (Fagen’s The Nightfly) Leon F Sylvers III - anything from Solar Records days. Pick n P bass funk perfection And on and on...

I don't mean to harp on about it, but I'm quite the celebrity on the oud/reggae scene in the North West 😬

My PDN Starry Night Stingray!

Is that grilled or fried? And does it come with Humus?

... my Raqsat al Gamal / King Tubby Meets The Rockers Uptown mashup is the talk of Manchester.

I am known for it

Try the Coffee!

So THAT’S what a Smith sounds like.. Thrown my long-time Sadowsky GAS into a right kilter that has. Here’s one of my faves from the Dan. Tom Barney playing a ‘Ray 5.

I just bought this combo off @discreet Managed to try it this afternoon for a bit. Why isn’t this rated in some sort of Richter scale? Input gain at about 7 - no clipping. Into the active input as I used the ACG with east Preamp. Master at 1.5 cos it’s just our music room. Loud. Low B was tight and defined. Slipped the East bass boost on. Mrs B was upstairs and came down and said “WTF is that?? It’s making me feel sick up there with the vibrations!!!” I’m going to like this amp....

First finish coat. Well, I think that looks pretty classy already I'm still amazed what a difference 0.6mm of veneer makes...

I do.. '71 and '73.

Slightly off the wall maybe but Killing Joke's Love Like Blood bass sound and especially how it sits with the drums in the mix has always been my favourite bass sound and one I have struggled to emulate on any recordings I have done

Two of my faves. David Barard with Dr. John, playing a Sadowsky low and loose Freddie Washington playing a Smith for Donald Fagen. Always loved the Smith sound, this is a good example Interested to hear other people's faves...

"Do you often take your Class D Bass Amp Head with you on holiday, sir?" "You never know when you might need it, officer" "And did you have many emergency Bass Gigs that you had to do whilst shopping in New York?" "No. Not really."

Hi Kieran, Sorry to hear this, unusual for sure. If you can email me your details and serial number of the amp I can do some investigative work and we can get you hooked up with our USA guys who will take care of you. My email is [email protected] I am assuming the amp was used when you bought it rather than new form a store?

The newer Class D power modules (the D800, Magellan, etc) are very good, and a different animal from the older ones.

Fantastic set list and a few i don't recognise. I'll be keeping an eye out for you guys up here. I do Jean Genie and Rebel Rebel in our Glam Rock covers band and i just love doing Trevor Bolders bass lines plus the songs are just so rewarding to play and they give you that little lift when finished. Great stuff and long may your success continue. Dave

and if you need a bass for the time being let me know .... i have few spare one , although not at the dingwall level

Just in case you didn't already miss your dirty blonde Thumb too much already, here is one being put to very good use on YouTube (If you think this is going to be just another cover, skip to 2:39 and thank me later):

It's an unusual tuning arrangement so best to just watch somebody...

That's exactly what I'm talking about -- it's wrong -- like two blokes having sex with one bird is wrong -- but in all honesty I'll probably watch it. edit: Yep, it was exactly as I imagined it would be...

Update This is not a cure for sticky flats, it was a shocking idea, my balls remained fresh and fragrant throughout the gig, however my fingers felt like they were playing sand paper all night, knacker lacquer is not for bass strings..... it’s for knackers....

As another year comes to an end, the inevitable set adjustments for next year are being discussed once again. Looking back at page one of this thread, on one hand we've come so far since those first ten songs, yet I feel we're still barely scratching the surface of the Bowie cannon. There are so many iconic songs still to do, yet maintaining the balance between the old, the new, the expected and personal favourites is a tricky one. We've tried to address specific song requests as we go along to keep our regulars happy, but the bigger the repertoire, the harder it is to put a set together - and there's still more to do. Very much a first world problem and not a bad one to solve really. I'll never get bored of playing this stuff. I just hope the punters never get bored of listening. Anyway, this is what the list has expanded to from those ten songs: Absolute Beginners Afraid All The Young Dudes Andy Warhol Ashes to Ashes Blue Jean Boys Keep Swinging Breaking Glass Changes China Girl Cracked Actor Dead Man Walking Drive In Saturday Fame Fashion Five Years Golden Years Heroes Hurt I'm Afraid of Americans The Jean Genie John, I'm Only Dancing Jump They Say Lazarus Let's Dance Life On Mars? Little Wonder (in progress) Look Back In Anger Loving The Alien The Man Who Sold The World The Man Who Sold The World (Lulu version) Modern Love Moonage Daydream New Killer Star Oh! You Pretty Things (in progress) Quicksand Rebel Rebel Sound and Vision Space Oddity Starman The Stars (Are Out Tonight) Station to Station Stay Suffragette City Under Pressure Valentine's Day (in progress) What In The World Wild Is The Wind Ziggy Stardust

A couple of thoughts on looping multiple instruments, in case that's useful - software is one way to do it, but you can also do it with hardware loopers and a mixer. I started out using a little Behringer Desk almost 20 years ago, upgraded to a Mackie one in 2002, then switched to a MOTU Ultralite Soundcard (that works either hooked up to a laptop or standalone) in 2008. This year, I swapped that for a Keith McMillen K-Mix. What each of these allow me to do is have the looper on a 'send' of some sort. Either the effect send on the desk, or just one of the pairs of outputs from the soundcard. That way, I can have instruments plugged into any channel and route them to the looper, but with the soundcard version I can also route virtual instruments to it as well. I currently use a Quneo as a controller and play sounds that are generated in FL Studio - nothing's pre-recorded, and none of the sounds are loops, so I play the controller as percussion or 'keyboard' instrument... Then the big issue is thinking about the arrangement - layering things can either sound like the gradual evolution of the piece, or like you're constructing a loop to play over later on. I much prefer the former. The big advantage of looping inside a DAW is that you can do things that are partially pre-recorded, or that use pre-recorded loops that you're manipulating the way @urb does. But again, you'll need to think about how much of a 'construction' phrase you want to have as part of the performance... The trade off with this is very much audience-dependent. Some audiences will be wowed enough by the tech wizardry to give you pass if it takes you a while to build the track before it feels like the beginning, whereas an audience that are more familiar with the tech may be less forgiving in terms of what they expect from the music aside from the tech constraints, if that makes sense One thing that's definitely worth considering is how important it is to you that the live versions are anything like the recorded ones... making great music is way more important than faithfully recreating a studio experience on stage. A lot of bands/artists have come unstuck trying too hard to replicate the sound of their records like when with a little imagination they could've maximised what was great about their live lineup by allowing a more fluid approach to the arrangement/structure/instrumentation...

Hope this is ok to post here, am really gutted about losing this one. Please spread the word and look out for my unique Dingwall Super J5 bass guitar (pictured on the right) which was stolen today. I arrived home to find out that my house had been burgled while I was at work. This has been one of my biggest nightmares, particularly as I have indoor cats and have always been terrified that they’d escape and get lost or run over, but despite the door being kicked in and open they were still around. This is more important than anything else, so I consider myself very fortunate indeed. All 12+ of my watches were taken too, but this bass (the one on the right in the first photo) is the thing I’d really like back. The key distinguishing features are the fanned frets, the brown pearloid pickguard, white pearloid block inlays on the fingerboard, a Sadowsky preamp, Luminlay side dots and a plexiglass ramp between the pickups. There is a Hipshot D-Tuner on the low B string with a double-stop lever, and the back of the headstock has been signed by Sheldon Dingwall of @dingwallguitars. This instrument has huge sentimental value to me - I saved up for a long time to buy it, and went on to save up for its twin Super P5. I would be prepared to offer a £300 cash reward - no questions asked - split between those responsible for its return, or donated to a charity of your choice. My thanks to the gentlemen from the police (who said several homes on my road got targeted) who helped secure my door until I can get it sorted out. Thanks for sharing this - really, really hope I get this bass back! @sadowskyguitars #dingwall #bass #guitar #stolen https://instagram.com/p/Bqu8HSAHaW3/

Well I've been pondering for a while now ,no proper band and only jamming now and then ,me and my musical journey on bass have finally come to a end .its a sad day indeed ,the band scene is not great around here either no more , so I'm gonna concentrate on my first love which is acoustic guitar ,take care everyone , over and out 👍

Lyre...

Ha ha, and it would fit in your carry on luggage...

Eddie Jackson with Queensryche on the 'Operation Mindcrim'e album - particularly the tracks 'Eyes Of A Stranger' and 'I Don't Believe In Love' - Gorgeous grinding Spector NS2/GK800RB tone! Tiran Porter with the Doobie Brothers - classic flatwound/pick thud, particularly on the albums Captain & Me, What Were Once Vices & Stampede. Guy Pratt with Toy Matinee. Ocatved Stingray goodness and groove for days!

I'd absolutely go for those bars rather than the party light T-bars, I have both but the T-bars are cumbersome space guzzlers best used for blinding musicians and I only use them for lighting the audience nowadays, I have a 12 way 1metre strip which goes behind the drummer as an uplighter and some of the round PAR lights but I'm going to get a couple of those short bars for the speaker poles.

Thanks - the combination of colour, black hardware and ebony board/roasted maple is quite striking. I may get a black pg for it as well though I like the white as it is - to be honest, I ordered this having seen a photo of one when they were first announced - which had a black pg. The neck profile and string spacing etc doesn't seem any different to me - however I have not had any instance of pushing the G off the edge yet - I find that playing a 5 I have to be more accurate - especially as the spacing is narrower. Ive also never had an issue with my Bongo 5 with that either. I have a gorgeous natural/maple ceramic pu SR5 from 2003 - now I do very occasionally push the G off the edge on that - usually after I've been playing 4 strings for a few weeks and go back to the 5 - that said, done once you just adjust and play more accurately - exactly the same as failing to mute the B properly, getting confused which string you're on - forgetting the ability to play two octaves across the strings. I saw Marcello's video and whilst it's definitely possible to do this, for me it's a case of adjusting your technique slightly so you don't bend the string the wrong way - anyone who plays Fretless will know that doing that on any string wrecks your intonation - so it's an element of the design and doing it continually is a technique issue - one I understand as it's very easy to get excited playing a groove and playing inaccurately in lots of ways (even hitting the wrong notes!!) All basses have compromises and I prefer the overall playability of the Musicman 5 string neck. Btw this roasted maple neck is so slick to play - the ebony and stainless steel frets possibly give a little more ring to the notes - slap sound is great as well - I'm very pleased with my pair of Specials 👍

I've gone off GAS thanks to our guitarist, he's always changing guitars and amps, never happy and you know what?, he always sounds the same to me, so I'm thinking what's the point? unless it's a quantum leap you'll always sound like you, so I'm sticking with my TE and Precision bass