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Saturday night was fun. Did an ABBA open air show in the park. Lovely evening and big, appreciative audience.

Can be arranged, but for the beatings , you'll need proper training. How to avoid leaving bruises and stuff. You can practice on teebs first off , then we'll move on to adults

Amen. Been there seen that, done that x 1,000. In fact, the only thing I've never done after a bad gig (other than replacing everything I own), is: a) Practice more b) Change me I really am the living definition of a poor workman...

Who?

Who said that?

That's quite alright. I do the tedious technical / housekeeping posts, while you swan about the sections in your silk smoking jacket, being witty and fabulous. 😁

Anyone know why i cant see Andy Travis posts ?

So here's a thing. Back a few years ago when the Sire Marcus Miller V7 was a very new and slightly bewildering thing, I bought one and was very happy with it. I am slightly ashamed to admit to being a shiny things magpie and went off playing 5 stringers and great though it was it sat there. So eventually sold it to a buddy then ..well bought another one about 6 months later, this time with a Nordstrand pickup upgrade, super lovely... offered as a swap for something else and boom gone again. So that was a few years ago, but have been tempted back by the budget line V3, same pre-amp, same layout slightly more of an all round and imho now better finished than the early ones, bass. Very impressed, straight out the box, intonation was good, two minutes with the bridge and action and what a great bass for £300. Fret and fretboard finish is exemplary. Pickups have been changed to the better I think.. Anyway NBD...

Had a wonderful meeting with Gary in Wales a few years back. We both drove many many miles to be there, He bought along a bass to show me, for the simple reason that he was so excited about it. RIP mate.

Ray Wilson as Genesis front man.

Yes, but there's a price. Charity Appeal This is Bayu Megawatti. He's 12 years old and he works 18 hours a day, seven days a week in an Indonesian Emoji mine. His parents sold him to the mining company and he hasn't been back to his village for nearly 18 months. Bayu's daily diet is half a ham sandwich and a glass of water. If you think that Bayu's story is unacceptable in the 21st Century then send all your money to: Del Var Helping Hands, PO Box 63, Salisbury SP6 7FU

Pipped!

Just where do you get all these things from? Some little child somewhere in South East Asia is working night and day for pennies making these emojis just so that you can sp#nk 'em all over the place. Now listen to Mr Delvar and stop with the emojis before this thread becomes another worthless cesspit.....

Now you've made a 16 year-old girl cry. You unfeeling bastard.

Wedding gig in a bar/pub in Boothstown*, actually the publican's wedding, so it was full on. Not too much to remark upon, other than the ongoing delight of lovely quiet inears, and the host offering us another £50 each to play another 5 songs, but the evening saw the debut of our BL's new Country-inspired** song. Rather than describe it, I'll simply quote his intro: 'My missus has been asking me for ten years to write her a song, because all my other songs are about my exes. So I have. This one's called 'Who needs Google when your wife knows everything?'... * For anyone not familiar with this charming hamlet nestled hard by the East Lancs Road, if I said the buffet included a large steel tureen crammed with doner kebab meat, you'll have an indicator... ** He's discovered the subgenre of Comedy Country (starting for him with 1978's delightful Conway Twitty/Loretta Lynn duet 'You're The Reason Our Kids Are Ugly') , and he's all about it now...

Tony Goggle is a bass player of almost mythical status who for unaccountable reasons is a name familiar only to members of BassChat. The facts of Mr Goggle's life emerge on an intermittent basis and in no chronological order. Over the years fellow Goggle fans @Rich @ped @Kiwi and I have attempted with scant success to separate truth from rumour. About the only thing everyone agrees on is that Goggle's career peaked when in 1970 he formed the short-lived 'experimental' power trio Slack Mattress. Goggle's egregious tactlessness, his unconfined sexual drive and his monstrous appetite for recreational narcotics and strong liquor established the paradigm for rock musicians past and (not so much) present. Some of us believe that Mr Goggle should enjoy wider fame but he has never given an interview we can find nor has he been photographed. Recent reports suggest that Mr Goggle is currently in hiding, this in response to the tragic events surrounding 'The Ten Million Watt Comeback Gig' at Devizes Corn Exchange earlier this year.

@fleabag -- Is it OK if I hang around with you? It's just that Teebs and Skinny are a bit... you know, as above. 😀 I don't mind helping out with beating a few suspects etc. 👍

Hi again Nancy, Thanks for the feedback. Babicz bridges really are great aren’t they? I think you proved my point! Dosi Y’Anarchy is now killing me with his chrome cover! And he does vocals....!!! Flash git! Well to be fair, he seems a cool dude judging by the rather fetching action shot! Must work on my cool credentials. Vocals are strictly off the table! Have fun both of you!

Echo echo echo echo echo echo echo echo echo echo echo echo... Anyway, 'Guest' said to me that he blocked you because of your uncalled for persecution of me 'n Ricky! And repeated prog answers to 'Name that Tune picture quiz'! He said he thought it was childish! So there! ('Guest' is wise! )

Depped on Saturday night with a bunch of mates at the fete de la musique. Loved it. Singer is a complete nutter. Jumping all over the place, out in the crowd, it tired me out just watching him. Ultimate front man. We even made the newspapers😆

Who said "who said that"? I've got everybody on ignore. The forum's been very quiet recently

Agreed. Even when a band emerges after a lot of hard work with ads, auditions , etc., it's like herding cats.

There's been a lot of positive comment on this thread about the Fearless F112 which was very helpful in persuading me to give this cab a try. It's been a few months since putting in my order, but I was very pleased to take delivery of my F112 this weekend. I've had a bit of time to A/B the cab with my BF SC which has done me (and my back!) proud over the past 9 months. There's a link to a post from a TB'er in the OP where he compares a BF BB2 with a F112, in which he states that: "Under the exact same power amp output, the F112 consistently sounded a bit louder and hit with better LF extension, depth and authority." I would agree with that as being a very fair summary also when comparing with my BF SC. The F112 does the low end really well - by comparison my BF SC felt somewhat thinner. Low E down to a low B and the F112 has very considerable weight and authority. The 5" speaker on the F112 gives it an additional mid punch that had me thinking about cutting my mids a touch rather than boosting which has been my default approach with my BF SC; in a band mix this ability to cut through is likely to come into its own. There is a two-position mid-dip switch that modestly changes the mid-range speaker’s response voicing which I suspect I will be leaving "on" whilst I get used to having a fuller mid-punch than my BF cab has provided to date. The Fearless has a 1" tweeter to additionally cater for the high end. It is a more subtle tweeter than on my Berg CN212 (the BF SC does not have a tweeter) and although there is an ability to cut the tweeter volume to virtually nil on the F112, I didn't feel any particular need to do this, whereas on the Berg the tweeter is set at a relatively low 3/10. Overall first impressions are very positive and seem to completely bear out the compliments given by other BC'ers on this thread. If you're a 5 string bass player and want to get an extremely capable low end from a compact unit or someone who is looking for a cab with a mid punch that will cut through the mix then, budget permitting, the Fearless F112 is definitely worth having on your shortlist.

Ah, but will they? With this question burning in my mind I telephoned my close personal friend the New York music lawyer Mr Wolf J Flywheel. Our conversation proceeded as follows: Me: Wolf? It's me, Skank ... Flywheel: Whaddyawant ya Limey fag? Me: About this Universal masters fire ... Flywheel: Get the f*ck outta here! Ain't got time to talk, too busy filing a class action against those f*ckin' schlemiels Me: Based on what? Flywheel: Who cares? It's a bonanza. Now scram, shitbird, I got plaintiffs to depose (Ends)

Not bad last night, first half was pretty quiet, but then I think that was the weather. Towards the end of the night someone requested some Metallica, I think they'd been up to Twickenham the other night, so we started Sandman. Now I've not done this for a while, but sometimes when we play Metallica I do Rob Trujullo's crab walk, and last night I thought I'd bring it out. What a mistake. I need to learn I CANNOT do this without stretching first. When I stood up after the song kicked it, my thighs screamed at me and walking around was okay but occasionally they let themselves be known. Then, I almost fell out the car when i got home as my legs weren't working right and I struggled to get up the stairs. WHY DID I DO THIS? 😂 Getting out of bed this morning was also interesting 😁 I guess this is being in your mid-30s.....😂😂😂

So one of the nice things about being a graphic designer, apart from being good at design (as that’s still to be determined) is you end up learning enough about processes to know the best way to get things done for different projects. So I asked Stevie if he wanted help with a badge for the cab. Partly as I wanted a nice badge for my own cab and partly as, if done right, it’s wee details like this can lift a project from very good to great. Like a most the other details stevie has built into this cab we want to try and do it to a high quality. I also wanted it lightweight- a pewter cast badge would be daft on a cab with neo drivers. The first problem we have is the small volume number, while die cast plastic badges, like the big manufacturers use, would be nice - it’s hardly cost effective to make 1000 badges in China to just use 10. Equally you could get a small batch of something from the UK, but the cost goes through the roof. Stevie set a budget for it, which bluntly was a bit more than I would have wanted to pay for a cosmetic thing that erm half of you might not like. So - instead my aim was to get a badge for the grill, a sticker for the gap on the handle and a sticker for the back for about the price of a pint at a music venue. Design is subjective right? And what do you call this thing... we started off on this idea that actually some of Stevies other passions could help name it- like it can be as abstract as anything as long as it’s memorable, pronounceable and means something to Stevie at least. Stevies wife’s maiden name didn’t sound rock and roll enough so we ended up talking about his work as a German translator and throwing random German words at each other. This was quite good as I also enjoy German culture (I’m there now), and design - and it’s the centenary year of the Bauhaus. So Stevies there geeking out on German cab names and I’m geeking out on German design and it’s viele spaß! luckily for you the long compound nouns got dropped, and Stevie started trialing BCcab as a name in PMs with some of you. Bass Chat cab obviously, without it needing to say that, and able to say it without sounding like an idiot, and I think there may have been a second meaning but I forget what that is. So then BCcab - v3. I still got to geek on with my Bauhaus- sorry!! I tried to come up with something that would work with almost any colour scheme and layout, but be distinctive enough that to be worth doing. Not so small that it wouldn’t be noticed, but not so big it took over the cab. so we’ve got a vinyl sticker for the back plate, a domed sticker for the handle and a subliminated aluminium plate 100x40mm for the front. (Soft enough to drill for screws if you need) - and it’s all just going to add £3.60 to the cost. (if you are building the cab and not getting the flat pack Stevie will have a few extra sets you might be able to convince him to sell you if you cover postage too) So the other day I got the first pre production picture of the badge prototype made up. (Colours are off a wee bit on this pic) im excited if no one else.

I wouldn’t worry about it Ricky, I’ve got Andy on ignore aswell 😂

Welcome Mark. For a hat trick, how about getting a Gillett or a Chowny bass and staying with a British brand? I think you'll be pleasantly surprised at how things have improved.

“YAMAHA”

The thing is, when Gibson were going bust, everyone was saying “they need to go back to what they do best, Les Paul’s/SG’s/335’s!” And were criticised for all their “innovations” (which incidentally were poop...) Fender and Gibson do what they do, Imagine Levi’s making tracksuit bottoms or Dr Martens making tennis shoes. It just doesn’t work that way. Fender have a staple 5/10 models and have to work with that. They try stuff and it doesn’t always sell - there are 100’s of models which didn’t stay long. I sold Fenders for years as my Job, and all the weird and wonderful sat on the wall while black strats and white telecasters turned over in huge numbers. For years their best selling Telecaster was the butterscotch 52, their second biggest selling telecaster was the left handed version. After that it was a natural finish USA with a black pickguard and the Baja Tele in blackguard blonde...etc. Its about an “Icon” thing for players. Jaguars/Jazzmasters/Mustangs were sort of dead until Grunge - the artists bought them because they were reputable branded guitars but cheap. Then in the early 2000’s the 72 Custom Tele/Thinline Tele/Tele Deluxe were in vogue because of all the hip indie bands using them for that same reason - before that they couldn’t raise an eyebrow let alone a big ticket price. They have a legacy and they’re bound to it, damned if they do (by some) and damned if they don’t (by others). More stringent quality control and they’d be away - but that adds cost, and that’s why a Deluxe USA Jazz is £1800 or so and a USA Sadowsky is about £4500. Incidentally - I side by side compared a USA 2010 Deluxe, A USA sadowsky and an Alleva Coppolo (check spelling) and the Fender held its own, massively. I preferred it in sound to the other two and it felt as nice as the Sadowsky. It was just a bit heavier than the other 2. It was also about £1449 at the time. They should open up 12 month contracts to us all and see if we could do a better job. Anyhow, as someone said earlier - if you weren’t thinking of buying a Fender this year - these probably aren’t aimed at you...I’m off to play my yamaha 😂

They do! It's called Custom Shop/Masterbuilt. Every time they introduce something "revolutionary" it doesn't sell. So they stop making it. Fender is a business and have to sell product. They keep making Precision and Jazz basses because that's what most bass players want to buy from them.

The F112 goes lower than the BB2, but it is really so low you may not need it. Both can very happily cover a 5 string, low end stomp fx, etc. (By the way, 'proper low end' for me does not mean significant reproduction of the fundamental of B at 30 Hz; it means proper reproduction of the first harmonic at 60Hz and going upwards. I owned an Acme B2 and B1 way back when and both could reproduce 30Hz fundamental. Sounded fantastic but were hugely ridiculously inefficient and once I realised I didn't need the fundamental - heck, I was high-passing it out in many scenarios - I sold them and got louder solutions. My experience now is that I perceive a cab as big in the low end now when it reproduces a fair bit of 50Hz signal and upwards. Not many do that, though...). The F112 is a good bit heavier, even in okoume plywood. But a very good form factor, tilt backable, etc. The high end out of both is very good, although I like the BB2 high end a little better than the F112. Just barely. Both cover the mids evenly and have excellent dispersion. I concluded the F112 needs huge power to get the absolute best out of it. 500W into the cab and it will barely break a sweat. It's very loud with 500W, but edged out for loudness by some other cabs I have tried - BB2 included. The BB2, as I said before, is lighter on the low end, but since it's a single 12" in a correctly sized box it will take EQ for the low end very well, and is louder than the F112 with the same power applied. The F112 looks 100% better than the BB2. It's unfair to Alex, but I have always disliked that paint finish. The Barefaced tolexed cabs look a million times better than the 12" series, in my opinion, and I think Alex would sell even more if he tolexed the 12" cabs. These are both very much FRFR type solutions, also; if you are used to baked-in voicing in cabs you will get a huge shock. Then you need to be able to carry solutions to colouring your sound if you wish it; some people get away with very little, and others go for Zoom/Helix/exotic preamps/etc. An adjustable high pass filter for the low end does make a difference in some scenarios with the F112, less for the BB2 as it's not quite so huge there. Given these are FRFR type solutions....then the next question is....lol...should you just buy a powered FRFR PA cab? Lol. See other threads for discussion.... Just my thoughts of an afternoon. Pete (Background. I sold everything a while back because of young kids and being busy, but am looking at 12s again myself.)

Summerfest starts this Wednesday. I might see, Fog Hat, Foreigner, Elvin Bishop Samantha Fish. 800 bands booked over 11 days of fun and music and nothing but fun and music. Had to post a pic of Sam for you young single guys. Blue

OK it's Blackberry Way by the Move

I've tried being nice, but it's getting me nowhere. Thought I'd try out wearing a leather jacket and spitting.

The Fender flats have quite a matt 'dry' feel about them, if that helps. 👍

Rotosound flats are great if you want a string where you can feel the bumps a little more, like a half-round.

I've got some snakeskin ones on the way...

That I don't know, I'm afraid, it's only me and the guitarist who are on wireless IEM's and we each have our own transmitter and receiver systems. Have a look to see what it says in the manual, I've tried to attach it here but I don't know if it'll work as it's a pdf. Can't see why not but I don't think I've seen anyone else attach one on BC before! If it doesn't work, pull a copy off the web from the LD website, they're freely available. LD Wireless IEM's MEI 1000 G2.pdf

The latest today: $100 million lawsuit filed over Universal's 2008 warehouse fire As expected, a lawsuit has been filed following recent revelations in the New York Times about the scale of a fire at an LA warehouse storing Universal Music owned master tapes all the way back in 2008. A legal filing made last week, which seeks class action status, says that the major breached its artist contracts by failing to keep the master tapes safe and then failing to inform said artists about the damage caused by the fire. Citing internal Universal Music memos, the NYT article alleged that up to half a million master tapes containing recordings from the 1930s through to the 2000s were lost in the 2008 fire at the Universal Studios Hollywood. This contradicts statements made at the time of the blaze when the record company played down the extent of the losses. The major has denied many of the claims in the NYT report. However, Universal Music chief Lucian Grainge said in a memo to staff last week that the company now had a duty to be super transparent with affected artists. While insisting that lots of speculation that has followed the publication of the NYT article is without substance, Grainge wrote: "We owe our artists transparency. We owe them answers. I will ensure that the senior management of this company, starting with me, owns this". However, the artists participating in the new litigation - who include Soundgarden, Hole, Steve Earle, and the estates of Tom Petty and Tupac - want more than answers. The lawsuit is seeking compensatory damages "in excess of $100 million", arguing that Universal failed in its obligation to keep the master tapes containing its artists' recordings safe, and then instigated a cover-up which, the legal filing adds, basically continues to this day. The lawsuit also notes that, while in public Universal played down the significance of the 2008 fire at the time, that didn't stop it from suing the Universal film company over the blaze and making a significant insurance claim in relation to its losses. Law360 reports that, in Universal Music's largely sealed lawsuit against the other Universal company shortly after the fire, the former accused the latter of failing to keep sprinkler systems properly up to speed at the Hollywood site where the music company still stored its tapes. It also said that the Universal studio business had ignored safety recommendations made after an earlier fire in 1990. But the music major itself should have been ensuring safety measures were up to scratch at the facility, the artists' lawsuit argues. Not least because when the 1990 fire occurred, Universal Music and Universal Studios were still parts of the same company, so the former would have had access to the safety recommendations that were made. Moreover, the legal filing goes on, "at a minimum, these alleged dire [safety] conditions were observable to UMG on even the most cursory inspection of the warehouse and its location". As for the way Universal Music communicated the impact of the fire to its artists, the lawsuit lists various allegedly false statements the company's executives made to the press back in 2008, all of which played down the scale of the damage. And as for how the loss of the master tapes could in turn impact on the artists pursuing the litigation, the lawsuit adds: "Master recordings - the original sound recordings of songs - are the embodiment of a recording artist's life's work and musical legacy. They are the irreplaceable primary source of recorded music". Universal Music is yet to comment on the legal action. If it gets to court, there will be various questions to be asked. Firstly, exactly how many master tapes were actually lost? Then, how many recordings on those tapes don't exist elsewhere? Then, has the artist still suffered a loss even if their recordings are stored in another format? And, perhaps most importantly of all, what are Universal's contractual obligations to artists regarding tape storage?

These days I generally take very little notice of the on stage sound (as long as I can hear myself and the drummer, and at least some of the vocal). It can quite often be pants but the FOH sound is fine.

I wouldn't change anything until you've had at least 3 gigs that didn't sound as good as you intended. When this happens to me I tell the guys in the band I'm having a problem with my sound and ask what they think. Most times the reply is "sounds fine to me". At that point I know it's just me having a bad day. Then again it helps that I have gear which sounds good with no effort on my part. It doesn't matter how bad I think I sound I know it's not the rig. I did a festival on Saturday. I was depping with a band I haven't played with for a couple of months and the sound was all over the place. Maybe the monitoring could have been better but the poor balance put me off and I felt I played very badly. They drummer and guitarist thought it was good. So what do I know!

Ooooh, Ampeg 8X10 stack. Plenty of pant-flapping heft. Yum-yum! .....and most important of all, a rented backline so you don’t need to kill yourself schlepping the damn thing 👍

Fire or flood? There was allegedly a catastrophic loss this side of the pond about 20 years ago when the Thames arrived unannounced at the Virgin Vault. This wasn't limited to Virgin artistes, but nobody is getting all tearful about the loss of original recordings from Japan or XTC. Personally, I don't really feel any loss unless there was content languishing there that didn't see release, yes harsh, eh? You would like to think that everything had been digitised years beforehand, so it's not like total loss.

Glad it was a success. Stevie will be getting my vote in the Basschat best Basschatter end of year poll 🗳

5 months earlier than expected! Settling the balance on Monday or Tuesday then just the glorious HMRC to deal with next.

HI folks, been experimenting with a Boss ME80 as an all in one solution. In short: it’s great. I wanted to find an all-in-one box to that could satisfy 90% of my situations (gigs, sessions, jams etc), which include bass and guitar duties but my primary focus is definitely bass. The ME80 does lots for guitarists - obviously - but on bass it ticks an awful lot of boxes too: the clean preamp is very transparent and can be pushed into tubey goodness with the gain dial. The other preamps aren't ideal for bass but the 'clean' setting gives a great tone and doesn't cut bass frequencies in a bad way (see below). the cab sim introduces an HPF at about 100hz and a LPF at about 4khz. The clean preamp can be set to be pretty much flat, and boosting the bass dial boosts nicely and quite widely around 125hz, which means it sounds great for a lot of bass tones, but maybe not for those wanting loads of very low frequency energy in their sound. I've done spectral analysis of it in my DAW and it looks like this (pretty flat between the HPF and LPF) when bass is at noon, mids at 1pm and treble at 10am (running white noise through it): without the cab sim there is much more very low & very high end; it becomes fully flat. The cab sim comes on when something is plugged in to the headphones and affects all outputs. As a result, in a live situation you could either run without cab sim (and therefore without the HPF / LPF shoulder in the chart above) or plug in some phones or a dummy jack to engage them if you want the HPF and LPF. The OD section can be used very nicely on bass. I like the blues setting as a drive / distortion that also is very flat in response. The boost option is also flat but just adds more gain to drive the amp sim. I've not played with other OD settings as they're either not my bag (the metal stuff) or cut bass (overdrive setting is a BOSS SD1, so it cuts a lot of bass, as does the TScreamer) There is a tuner, noise gate, and flexible expression pedal, aux in and phones out. The eq section (the optional extra one, that can also be used for effects) is a cut& boost eq that we are more familiar with. Nice to have both options, and for it to be stomp-able. The other obvious thing which I really like is that this feels a bit analogue, in that there are no menus or complications and it can be run in manual mode - what you see is what you get. The bottom left pedal section has a lot in it for bass - a passable OC2 clone, and a good, simple compressor. Unfortunately it is one or the other as they can't be used together. I can live with what though (I did say I wanted a one box solution for 90% of gigs, not 100%). I like it. It has a lovely clean tubey kind of sound and there is no noticeable latency at all. The amp sim has the mild baked-in compression effect that you'd find in most guitar amps. As a result, the huge dynamic spikes that a high-end, high-headroom bass preamp can throw at you are compressed a bit, but not in a bad way. For me that's a bonus. I think if you really wanted to preserve a very large dynamic range then you'd have to switch off the preamp (in which case you probably don't want one of these anyway) or maybe just turn the preamp gain down, and if you really want a lot of sub100hz in your tone you'd be better off elsewhere. If however you can live with the 100hz hpf (and I know some of us are a little HPF obsessive these days!) this might be worth a look. Bombproof and easy to find used too. So far I'm loving it! Doug

Does Mickey Mouse know Gibson have got his ears?