Leaderboard

My blues rock trio Toredown played at our 'regular' pub in Ipswich, The Shamrock, last night. I arrived a bit later than usual, found a rare parking spot virtually outside. We didn't get to fully set up until after the footie as our space was occupied by viewers but as the place wasn't busy we could get kit assembled by the side - in the event we kicked off at around 9.15ish, so not too bad. We have played better, all of us made mistakes but nobody noticed or, if they did, cared. By the time we were a short way into the first set all our regulars had turned up and the place was packed. Security had to turn people away at some point. Really good atmosphere, we went down really well, got paid more than we asked, no road closures on the A12 homeward bound so 60 mins to my door. Wonderful. Nice to see @Dazm66 who plays with our drummer Joe in another band. Next gig is supporting Dr Feelgood on 15th Dec

Well that was bloody great. First gig in a few months due to folk on holiday etc. I'm always a little nervous after that much downtime - will I remember the songs? Turns out the human memory is a little more resilient than I gave it credit for. Had an amazing gig at the Butchers Arms in Inverurie last night. Slow start but crowd streadily built up during the first half and thankfully didn't bog off during the break. This may have had something to do with after the last song of the first half. After we finished the last song of the first half, the singer was telling everyone we were going to have a break and I absent mindedly started noodling the riff to "Groove is in the Heart"/"Bring Down the Birds". The crowd cottoned on to what I was doing, the drummer joined in and then we had someone rapping to it - they were really good! I have no idea what she was saying, but she was in time and had good rhythm! Second half went fantastic, lots of dancers, and only one minus when a pished wifie came in, tried to steal the mic from the singer a few times, got into a fight with a bloke who came across to stop her and finally she got kicked out by the door staff. Some annoying other pished wifie was indignant that we didn't know any Fleetwood Mac. Here's 40-odd other songs you seemed to enjoy, but no, the whole thing's effed because we don't know Fleetwood Mac. OK then, off you pop Cobwebs well and truly blasted out. What a great night!

Played in a massive converted warehouse venue last night on Gloucester docks. Basically a giant bathroom acoustically speaking. It was fine, with the only thing of note being me watching with my usual amusement as a drunken ‘expert’ regaled our sound engineer with lots of pointing and hand gestures. When I spoke to him afterwards, it turns out the guy was brilliant and actually really helped with some advice that transformed the sound and resolved a bass bloom issue. I suppose mathematically speaking it had to happen eventually 😂😂😂

Had the privilege of collecting my dream bass today and even better the Mrs thought it was more than it actually cost 👀

Our seven piece swing band played inside a store as part of the city's downtown Christmas walk last night. It's a small shop but we had hundreds of people coming in for the three hours we played and got lots of good feedback as we worked our way through a mix of swing charts and some Christmas songs arranged for a band like ours. We played well and were done at 9 and got paid too . I used my Yamaha SLB 200 instead of my DB due to limited space. A shot from inside and one through the window from the street. 👍🎅

Out came the scrollsaw and off came the excess pickguard: Unfortunately, @atsampson , I don't think the offcuts are quite long enough to completely fill the narrow, but long gaps. After doing this sort of thing a few times, one is relatively relaxed hitting a 56 year old icon with a Forstner bit...well, definitely relatively And, again using chisels and mallet, the chamber is cut: And it fits! (Big phew!)

I’ve never had an issue with the stock 3point bridge , but I’ve loved the look of the hipshot. This has been my favourite player for quite a while now, it’s a beautiful little thing to play. With a single pickup in the classic sweet spot this actually behaves much like a Pbass. Lightweight , and fun. I love this bass.

Unless you are looking for a specific sound, look or 5, 6, 7, 8, 10 or 12 strings etc, no one really needs any particular brand. What you need is something that sounds the way you want to sound, plays well, feels good and possibly looks good as well. I've never really bonded with any Fenders that I've owned over the years. My current basses are a Warmoth Dinky body with Status Graphite neck and EMGs so Fender in type but no where near any Fender I've played before. The other is a Musicman Sterling HH which has a loose connection with Leo Fender

Just a couple of days ago I had an email from a Vineyard church quite local to me. It was an invitation to a Worship jam they are doing. It is an initiative to build a new worship band as they feel they need more bodies to cover extra services they are putting on including an evening service which will be all worship without any teaching or sermons. I sent a yes to attend and got back lead sheets for the 3 songs they want to try out to start with within hours. I've been trying to get the gospel church where I play to use lead sheets for 18 months with no results. This looks like I might be on the move to serve much closer to home than the 44 mile round trip I have been making for the last 18 months or so. Please pray for me that all is well and according to Gods will.

Ignoring switches I count 94 knobs and sliders … presuming 10 distinct positions on each knob that’s 10000 0000000000 0000000000 00000000000000000000 0000000000 00000000000000000000 0000000000 0000000000 options

I think the reason my band has stayed together for over 15 years is because we distance ourselves from each other. We rarely see each other outside of gigs. I also think it's the reason all our gigs are fun. Blue

People maybe 40 something, age around the same. They had been having some educational thing the whole day. They really expected something like a slightly advanced trio, and we were 10. We actually played pretty well today and the audience was dancing. A lot. Good vibes from the start.

I love gigging. I need the money and the attention. A friend asked me why I still gig at 69 years old? My response, " The gardner doesn't applaud " Blue

72 Jazz, 75 P Bass and 77 P Bass

I did the audition on Wednesday. As I expected, I played at about 50% of my ability under pressure. It was bit hot and my hands were sweaty which made my flats a bit sticky too. But, they want me in, so it was a good result. My little Barefaced One10 with the LM3 sounded fabulous with my P bass, I don't think I'd ever need anything bigger with this band. I learned six tunes for the audition including The Chicken, which they were quite pleased that I'd picked one of the more tricky tunes to audition with. I now have another 5 to get down before rehearsal next Wednesday. I have permanent jazz earworms at the moment! A couple of the band members will be at Jazz Jam tonight in Lancaster. I'm going down and hoping to do a few tunes with some new people. I feel like I've come a long way since buying my first bass almost a year ago. Onwards and upwards! Rob

Hm I don’t like them for some reason. Or stacked pots. I think a slider switch will be quite neat and a cool take on the jaguar style, plus I think Andy has one already

I believe it's something to do with the colour of your finger.

All string manufacturers publish on your website the string tensions of the individual string and the set total and use the same units or both American and metric and agree on standard conversion figures from one to the other It would make it sooooo much easier to find comparable strings/string sets Especially important when a set of strings is £50+ Failing to publish the data to me means you are either lazy, don't care about your customers, don't acknowledge customer intelligence or that your strings are just whatever came off the machine that day depending on who was minding the machine or what the supply chain sent you in terms of materials and you don't actually know or care what you are making

We're working on a mash up of Groove is in the Heart and Gary Numan's "Cars"...

I doubt that the band that plays the Academy Awards rehearse every week. I'm guessing that most of the players see the charts either at band call (or maybe a week or 2 beforehand at most), then have a couple of rehersals including a full dress rehearsal, followed by 'see you next year'. They won't be going to a rehearsal room every week to work out songs and arrangements- that's the job of the arranger and MD.

Best Precision I've played is a Tokai. Best Strat I ever played is also a Tokai.

Fender are a bit all over the place with their business model IMO. The Japanese made models are generally really good and not particularly overpriced, particularly second hand. With less than an hour set up the Squier CV are good value at around £400 new. Good value first bass or backup that would lose little money should you want to sell it on. The supposedly cheaper Mexican models now feature gems like the JMJ, Nate Mendel, Flea and Vintera range. Again very little money lost if you want to sell them on as they retain their value fairly well. The USA models are fairly expensive, but most products bought from the USA in Europe are expensive. I guess if the instrument feels right in your hands then the cost is worth it.

Of course if they go up to 11 that’s one better…

Welcome to the 21st Century ...

Decided to treat myself to a short scale bass about a year ago, so got in touch with https://www.wilcocklondon.com/ to ask if he'd make basses for lefties, and turns out that he did... So after a bit of wait and choosing specs (alder body with sherwood green finish, roasted maple neck with rosewood fretboard), it finally arrived. Looks and sounds fantastic so far, surprising versatile range of sounds, considering its simplicity (passive, 3-way pickup toggle, tone and volume controls).

I’d obviously, as a huge fanboy say yes, you def need a Fender. But objectively unless there’s something you feel that’s lacking with your current basses the logical me says no.

There is a veritable cornucopia of amazing double bass exponents out there - is there any style/genre that particularly interests you?

Thankfully I’ve discovered that an old bass I no longer use had close enough screws, so that’s handy for now. just added some tea staining and a single coat of danish oil.

Anything with Danny Thompson.

Maybe go for a bolt and neck insert?

@ped I just nabbed one of these and I’m playing it primarily with a jazz bass too. Just revisiting this thread and I’ve pretty much the exact same settings for a pleasing always on sound, maybe just a ‘dot’ more of the mix added. I’m looking forward to experimenting with a few more settings but as an always on pedal the settings as posted and a jazz work well. I have stacked it with an DG Alpha Omega small enclosure pedal and they’re a great combination when combined - the TRex settings as posted and then varying the A/O ‘voice and drive’ with the the DG (low boost switch off). I sent my mate my VMT for a loaner and just whacked the Bass Juice in to replace it and it’s been a great addition. Really looking forward to stacking the TRex and the VMT down the line too.

I think Niails observation may have something to do with it. My important life moments have been punctuated by some rather bland music - some that stick in my mind are Holidays in the Sun by the Sex Pistols (the first time I saw a band play live - admittedly my brothers punk band in his bedroom), Without You by Harry Nillson (which was playing first time I hooked up with my wife), Last Night a DJ Saved my Life by Indeep (which was playing when I lost my virginity - I'd like to claim it lasted longer than the record but sadly not) and Cocaine by Clapton (the first song I ever played live to an audience).

When I worked for the Beeb I used to go to the incidental music recordings at TVCentre music studio for a couple of progs I worked on - Lovejoy and Hetty Wainthropp. In both cases the composer and MD would get together beforehand, send out music to the "band", there'd be one rehearsal then everything would be recorded live - mostly in 1 take. 30 cues would be recorded perfectly in 3 or 4 hours...

I’ve been on a bit of a roll with classic bass lines lately! This week I look at the bass line from 'The Joker' by the Steve Miller Band. This is instantly recognisable and is one of those bass lines that really defines the song. It's actually more tricky to play in places than you might think and varies a lot during the song. I love how the bass line is a sort of mix of Reggae and Motown. I've transcribed the whole bass line and have also written a simplified version which works over the whole song. You can see that at the end of the video lesson and on the PDF which is under the video in the description. Have fun with this one! https://youtu.be/dG-pYdzqZ_I

If you want to use both bass and guitar into the same source then you only have two options really: use emulations to get the tone and FRFR of some sort to bring that up to practice levels or something like the amps you suggest and be prepared to compromise either the bass sound or the guitar sound, or both for something in the middle. Only you can judge if a nice but compromised tone is going to let you happily get on with all the things you need to get out of practice, after all no-one else is going to be listening. If you decide to go the emulation route then using your home computer and a DAW to do the sound processing opens up a huge universe of possibilities, though I'd use a set of monitor speakers rather than a home hi-fi. (I came to BC today to look for monitor speaker recommendations) Hi fi speakers and unprocessed bass dynamics can be a problem. Great shout from @chyc Alternatively you don't have to go full Helix or whatever for emulations. The Zoom B1-four or G1-four both give a huge no of emulations and fx to play with and it is possible to get good bass sounds out of the G1 and good guitar out of the B1. At £65ea you could go for both. Then a small PA speaker could take that up to practice levels or even a bass amp. In my duo we tried the G1 through my Warwick Gnome and bass speaker and it sounded good. Other combinations are available.

Best Les Pauls many of my mates have played were also Tokais.

And the gas😁

We've got a gig at The Rigger in Newcastle Under Lyme, supporting female-fronted prog metallers Dakesis on 16th December... Poster to follow, as well as dates in Rhyl, Wakefield and in a field near Pwhelli!

We did a gig in France, just one night, but 3 days in total, including travel. The gig was OK, but we had an absolute blast, I don’t think I’ve spent a more pleasant bank holiday weekend. Our rehearsals were mini versions of that trip.

I don't see much value in Fenders except with resale, even then only if you've bought it used in the first place. That said you can still take a hit with 2nd hand, not many folk clamouring to buy Dimension models. I like the look of the AV II 54 but £2050 is a hell of a price, then there's the fact demand for chubby neck single coil P-bass is limited. You could lose £500 if selling on. For that £500 hit I could easily build a 51/54 style P-bass. Truth be told with £500 I could , and have, build 2 of them 🙂

bow just to setup the core and start some presets