Leaderboard

Ooooh! Talk about case candy. Even has a foam mute strip for the bridge cover. And a hootenany button. Reverse tuners. Tug bar. From the wonderful A Strings in Pontypridd who even made me tea and did a quick setup for me while I made a deal with old nick. And not only did they have it in stock, they jad the best shop price in the UK. You cannot be serious... World's coolest wash bag?

But you still can't find a drummer who won't speed up

Finally managed to wire this setup last night.

Gratuitous pics of my USA JB-2 fretless.

Can’t you do what the rest of us do and use ….

The above looks stunning! There’s also low profile xlr connectors in Amazon similar to those. BEHOLD!!!! FINALLY!!!! PEDALBOARD COMPLETE! Fitting is absolutely perfect and following the principles of my previous TightBoards™️ 😂 the picture shows the pedals over the edges but it must be the picture/angle PS: The Capo is…. 🤤

Sue Ryder (For those who've been here a VERY long time )

Start listening the Joy Division and all those other post-punk bands where the bass guitar carries the main instrumental tune. I've found the easiest way to come up with a good tune is to sing it first, and then work out how to play it.

It's not a new one to this thread, but may I present my entry into le club:

Laurence had a band based in Lancaster with long-time musical friend Fred Binley. The band was called Quay Change. There's not a right lot of material out there, but here is a little bit of phone footage I just found from 2016. Must have been during the 2016 Lancaster Music Festival. Jane hopped on the mic for one song that day, however she was also a regular vocalist with the band around 2009-2011. Fred is still a great friend of mine and my dad's. Video Link: https://photos.app.goo.gl/kxiNg5BNAvGveuox6 Quay Change 15th October 2016 Wagon & Horses Jane Dodson - Vocals Laurence Canty - Bass Fred Binley - Keys Tim Franks - Drums

Listen to the first two New Model Army albums when Stuart Morrow was on bass and in particular a track like this one. Such as great tone!

As if being a member of Basschat isn't already bad enough

Aclam XS1 pedal board arrived this morning, needs a tweak (longer power lead from Alix to DGHL so I can swap the DGHL to the right of the Alix) but really liking the Velcro free clamp system, very tidy. All I need to do, once the pedal positions are finalised on the board, is find a way to mount the board on a stand, here it's just resting on a mic stand shelf.

That's all very well, but I agree with him 1000% so that makes my agreement ten times better than yours.

On it, Boss. That's pretty much the compressors job description 😉 Compression is widely misunderstood and there's a lot of urban myths surrounding it but you say you've done your homework and that is the most important bit as it'll help you understand what to do with the right pedal once you have decided which one to go for. There are many different types of compression and while they all do the same job, different circuit types do it in different ways and have different characteristics that you may or may not like. So the first thing to do is decide what type of compressor your looking for. For example, a lot of guys like optical compression circuits on bass. Optical designs are inherently slower and have a gooey feel in their action. They can also impart varying degrees of colour on your signal, something you may or may not want. Another common design is the FET based compressor which inherently has a much quicker response and is great for taming the initial note transient if you're a slapper or play aggressively. There are other types to consider too. Then you have single and multi band options, analogue and digital, transparent or coloured sounding. Do you want control over your attack and release times? Do you want to be able to blend in some clean signal or allow some of your uncompressed lows through to stop the high end getting dulled? Do you want a million parameters to tweak or just a simple one knob (fnarr) design, or something in between? Does it have to be a pedal? What about a rack unit? And then there's you as a player, what style of music do you play, what bass(es) you're using. Are you using something like a Sansamp or other pedal that's already adding a ton of compression to your sound? Do you need metering or have you already got your ears tuned in to hear the compression in action? And this is all off the top of my head... There's so much to consider and it's very easy to go for the wrong compressor your needs which can then put you off for life. There's some good recommendations above, but what works for someone else may not work for you. But what I would suggest is picking up a cheap Zoom multi fx pedal, something like the MS-60B or the B1 Four, as these have a few different compression models in that cover a few different compressor styles. Have a play, preferably at volume with the band if you're in one, and get a feel for the characteristics of each type to see which works best for you. Once you've decided you can then start narrowing down the choice of the millions of options out there. It's a rabbit hole that I got lost in for years, but I learnt a lot from trying as many different options that I could get my hands on and I now know what does and doesn't work for me. And my go to compressor these days is neither expensive nor complex but I know that it will give me exactly what I want every time I plug into it - which is always!

Used to be in a band called Buckingham Phallus. Was a bit of a let-down. i also remember a band called Matt Vinyl and the Decorators. - always likes that one. 😉

Bass guitars….. You can buy one for fifty quid, you can buy one for fifty grand…. but they all do pretty much exactly the same thing. You can make folks smile, dance and have fun with an instrument that cost less than a tank of fuel…. or you can bore them senseless playing a slap solo on one that could be a deposit on a house instead. Mad eh?

It's just so nice i had to post a photo, don't get played much nowadays, concentrating on bass.

On the other hand...... I was chatting to the drummer in my band, after we'd finished our set at my local music bar. The band on after us were starting their soundcheck and the bassist started playing. Both my ears and the drummer's pricked up and we spun around at the sound of the bass guitar. It sounded amazing and I immediately tried to identify the bass he was playing. I could see it was a WAL mark 11, which I'd never seen in the flesh before and it had the best bass sound I'd ever heard. Now that's an objective opinion, as I didn't know what model of bass it was before I turned around to look. After hearing one in the flesh, and now knowing how great they sound, would I ever buy one for the many thousands of pounds it would cost me to do so? Nah......

I would say between £500 and £600 depending on condition. And a bargain at those prices....

First 2 coats! Please try and ignore the very untidy shed...

Whoa, that's some proper porn! Beautiful bass. Perfect couch (and room) to start a Youtube channel. Or a porn site

The illustrated history book is a fantastic reference tool. The Geddy book is atuffed full of gorgeous basses. The "Febder, The Golden Age" book is droolsome. I got the inspiration for my recent Seafoam Green 50s P-Bass from that book!

Anyway, this is all complete tosh. I know for a fact that I play ten times as well on a £1000 bass as I do on a £100 bass. I've measured this objectively and accurately, and there can be no denying it.

‘The Fender Bass - An Illustrated History’ is the one to get. I think it’s out of print, but available used… if a little pricey. Be warned though… it will make you covet expensive things.

Had a day off playing due to pain/spending time with my family and trying to take less pain killers, went back to bass for an hour this evening and pretty much nailed that George Benson track I was struggling with. I guess a break can be a good thing.

Needs a few rehearsal/gigs to be fully reviewed, but. I will admit I am fully bored of looking at the claret red of the B3n (had it about 5 years) and this looked so much better. I actually grabbed a B6 when they came out to try, and yes it has a better/bigger colour LCD, but I feel there are no differing sounds/effects available to the B2 Four. I also prefer a smaller footprint that can fit in the front pocket of a gigbag, which this does fine. It's actually a bit smaller than the B3n top to bottom and definitely lighter (1.2kg vs 0.9kg)

Yeah i get bored of fine tuning the same settings every time i move my board or the child stands on it. I think I'll probably just tape all mine, doesn't look great but it's effective!

Mine is always on too, but my pedalboard is angled and putting the Capo on the top row stops it from fitting into the flight case. Otherwise I'd do that. My next job is to find something to stop the knobs moving so easily. Last night I was short on space and my cable kept moving the gain knob. It was really annoying.

Currently playing in the shop!

I'm sure you could hit up @KiOgon for a loom with volume, blend, and tone with push/pull for parallell/series...

The new one from Baco , Johnny Osbourne with Thomas Cirade who plays for Clinton Fearon on bass , really good

I'm an m87 user as well - It does the job cleanly and without massive colouration

I do a lot of "lead bass" with Hurtsfall. I find that alternating the tune with the root note works well where I play two strings either as chords or alternate plucking, with the lower string doing the root note of the chords and the higher string doing the "melody"

This is a great site - http://vintagebassworld.com/description.php?manufacturer=Fender&product=Precision&year=0 My favourite book about Fender history is Fender the Golden Age, it’s not specifically about basses. But the golden era ones ate there, and the history is excellent. https://www.amazon.co.uk/s?k=fender+the+golden+age&adgrpid=137332748607&hvadid=583480889248&hvdev=m&hvlocphy=9045969&hvnetw=g&hvqmt=e&hvrand=5628150757361082045&hvtargid=kwd-301829152221&hydadcr=17321_1802374&tag=hydrukspg-21&ref=pd_sl_30uov4oni5_e

Did a few stain tests with colours I had, the amber looked a bit "dirty" when trying to blend a burst in. Settled on blue!

Hi Matthew I am so sad to hear about your dad. I knew him very well in the mid to late eighties. I studied bass at Goldsmiths Uni of London under him and then studied privately with him at his place in Muswell Hill. He was a kind and very encouraging teacher who made the seemingly difficult and unfathomable a hugely enjoyable and productive learning experience. I was very, very fond of Lawrence. I became reasonably proficient and eventually ended up playing and composing for the theatre. This lead to me rather circuitously becoming an actor in theatre, radio abd tv. I then became a screenwriter and director in the film business and to date I have made seven features and won several awards including a BAFTA. I came from a very working class background in Wales and lost my dad when I was eight and my mum before the age of twenty. So I have to tell you that Lawrence was a hugely empowering and guiding influence at a time of huge self doubt and vulnerability. Without him and the hope he engendered, I’m not sure I would have gone on to have the career, or indeed the life, I have now. It fills me with immense gratitude that I know him. A very special man. A great teacher and a great player! He was a sublime educator and is a special human being. It is so very sad to hear that his health has deteriorated. Please, please send him my love and deepest gratitude. A lovely man. I am married, have a daughter and a grandson, but those years studying with Lawrence were hugely formative and filled me with belief that life could be full of joy and excitement if only we can find a glimmer of courage. This is how critical learning from Lawrence was to me. Please feel free to contact me at the email address provided. My very, very best wishes Matthew. Make Lawrence know I am sending him love and thanks!! Wyndham Price