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The finished Bass. Mark is due to visit the workshop this Friday to take delivery, and we may make a short video/sound check.

About ten years ago we were looking for a new drummer. First chap we tried spent over an hour setting up the biggest kit we had ever seen, and then proceeded to drown the rest of us out. Mutual agreement he wasn't the best for the band. Out of desperation we then tried a 14 year old kid who volunteered through a friend. Sort of did it as a favour as he had never been in a band before - turns out Sam was God's gift to drumming. He won the Yamaha U18 drummer of the year competition a year later, we recorded a bunch of Toto songs for his A-levels, and then he left us in his dust when he disappeared off to become a session musician! It was quite humbling to have a tiny part in his development.

Bass Amigos, Its Steve Fishman aka Steve Lawrence here. Someone asked about my gear and sound with Hugh. Missed this one by a decade or two. Its P bass for me and even the Burns bison (UK c.1980) is a PJ . Most of my basses have had J pickups (added before I found them) but I use the P pickup only as a general rule. I still have the Peavey Max but last several years have been using a Genz Benz Streamliner a lot. Theyre great but I dont love the eq with 3 fixed (not my fave) frequencies prolly to sound SVT-like SVT isnt my 1st choice. I endorsed PV and have a couple of T40s and a Midibass. I also have a cool vintage Carlsbro 200W valve amp for loud bands. Im currently doing projects incl Glen Matlock & The Maestros w Clem Burke and Gilby Clarke and Intergalactic (post psych postpunk). Im gonna try to look on this a bit more often. Love to all bottomly people!! XX Steve https://epi5050.com/musician

Talk about blowing your own trumpet….

That's sexual assault. If a man had done that he'd be in serious trouble.

Let me see. . . . a musician is having some success and the Basschat massive isn't happy about it. Well there's a surprise.

In the days when I was using a full backline, for local gigs it was cheaper and convenient to get a taxi. Taxi drivers have no qualms about "parking" in the middle of the road directly outside the venue for me to load in and out. The fare both ways was only slightly more than the cost of parking and definitely less if load out was after midnight, and the overall convenience of not having to carry the gear great distances or messing about looking for free or cheap parking outweighed any additional cost.

Little ray of sunshine! The music may not be to my tastes but it’s a lovely story nonetheless.

Don't my purple Vans count for anything ? Lol Daryl

And another Turkish list. The most important instrument in Turkey is the baglama, or saz as it's more often known in the English speaking world. It's an instrument that can be found with slight variations spanning the Balkans to the Caucasus and Iran, typically featuring three courses of strings. My favourite version is the Albanian sharki, which I find easier to play than the baglama and quite an easy transition for a bass player. The most famous artist in the modern era is probably Neşet Ertaş, and this is possibly his most famous composition, Ah Yalan Dünya. What he lacked in technical perfection he more than made up with the emotion of his playing: Possibly the most famous baglama player during the era of recorded music is Aşık Veysel. He lost hos sight at an early age, and it was not unusual for blind children to become folk musicians. His songs are invariably very melancholic, and Kara Toprak is a personal favourite: Arif Sağ is someone who often uses techniques such as double tapping on the baglama. His Kirpiğin Kaşına is more traditional though, and in the traditional introspective style: Hopefully that's whetted your appetite for this instrument. Even if it hasn't, and I have included a very personal choice of songs here, I'd strongly recommend the fantastic documentary "Saz, The key of Trust" where the incredibly talented Petra Nachtmanova takes a road trip across the Balkans and Asia Minor to find the roots of the baglama. The full documentary is up on YouTube and for me it's the best musical documentary I've ever seen.

pic courtesy of Emma Bowden @armadillocentral.com Brilliant gig on Saturday at The Plough in Shrepreth. Good turn out, some lovely comments from the audience and staff and being not far from home. I had lots of friends and family in; which is always nice.Very good friendly venue; a great local pub that prides itself on on being a proper music pub- nice stage, good house PA and an owner who also knows his way around a desk; he did a great job on the sound while running a busy bar and looked after us really well. He also happens to stock some great beers and Mrs C was driving ! We had a great time one of the best pub gigs I’ve played.

Here's a good one in reverse. I auditioned for a classic rock cover band. This was years ago. They double booked my audition with another guy. I was able to watch his audition. A young guy, he didn't know any of the songs I nailed all three. They went with the other guy. He was a friend of the guitarist. He didn't last long. Turns out the guy had no transportation to get to gigs. They called me back and offered me the job You can imagine where I told them to shove their offer . The lesson, never audition for bands auditioning friends or relatives. Daryl

Yep, good luck to ‘em.

I only play 4 of those strings. Supporting Hellbastard back in December

Closure: The bill came in at a rather more reasonable £510, for which I was very relieved. Perhaps more importantly, the instant I started playing the bass it was as if I'd traded in a cheap Chinese beginner's bass for a high-end instrument. Not just better than it was (with a warped fingerboard, well duh!) but substantially better than on the day I bought it and - if anything - even better than the Zeller 3/4 it replaced. No complaints from me. Thwaites did an excellent job. 🙂

I've te green model arriving sometime this or next week ready for a full video review, so I'll keep you al posted.

The only sensible point that Jeremy Clarkson has ever made (that I'm aware of) is that councils and pedestrianization are doing as much if not more than the internet to destroy the town centres. The town I grew up in still had the Blockbuster livery on a shop unit the last time I went back, the high street is dead. Meanwhile there's the Metrocentre shopping mall 20 minutes drive away, Team Valley (industrial estate/retail park, 15 minutes), the Arnison Centre (retail park, 10 minutes) and Dalton Park (outlet shopping, 30 minutes) that are all absolutely thriving. Why? Free parking.

Well this is going well - thanks for all the contributions so far. Great to see the Turkish material @chriswareham @Baloney Balderdash @Leonard Smalls I've been enjoying some of the more club orientated fusion that is getting used on a lot of Turkish holiday ads at the moment (and giving me serious holiday envy)! Looking forward to delving in to these contributions.

Hand on heart, there was no googling involved - wasn't the Mystery Machine predominantly green?

A new branch of HMV? You really must think it's still 1987. 😄

I’ve actually just picked up a second hand rig: a genzler Magellan 350 and a Barefaced two10. It sounds awesome at home and I’m looking forward to trying it at gigs over the next two weekends. I really like the EQ section and contour knobs on the Genzler, I think the orange contour channel is going to be really handy in a live setting.

Nobody can afford a new Stingray anymore

The thing with the current Line6 HX/Helix range is that all the upgrades are done in software. Not only that but they are all free. So although my Helix Floor looks the same as it did when I bought it six years ago, inside it's is very different. I'm currently on V3.7 of the firmware and I believe that there is at least one update that I haven't yet got around to installing. There was a major update a while back that improved most of the amp and cab models so that they used less processing power, which allowed you to have even more modules in a preset (not that I have ever come close to running out of processing power yet). I'm sure at some point there will be some major improvement which will technically render the current range "obsolete". But so what? As long as the devices still work they are still relevant. After all there's musicians using amps, cabs and pedals with technology that is at least 40 years old and they seem to be perfectly happy. My Helix does 99% of the things that I want and does all of those things perfectly. The 1% it doesn't do are highly specialised to my needs (MIDI-triggered gates and filters) and although I have a request in, I suspect my requirements are a long way down the list of priorities. However I've found work-arounds for what is missing. I've been using programmable multi-effects for 35 years now and the Helix is by far the best in absolutely every respect.

I had a Police tribute gig in Chatham, Kent. To load in you either used to bus lane and get fined, or as the precinct was dug up and you couldnt access it, a long walk with the gear. We spoke to the promoter for about an hour, then called it and went home. I'm at the point in my life where I dont need the hassle, I've been gigging the local Kent scene since 1987 and now I do i for fun

Chris from Turner Pickups here... The "old" pickups were wired internally such that each vertical row of 4 coils were all in series, effectively creating a single "coil" (just made of 4 small ones). Then the 2 rows each had their own pair of leads, so the usual series/parallel options were available, like a normal humbucker. The "new" pickups, which are used in modern Wals (Mk 1, 2, 3), are wired such that the 2 cols under a string are wired in series (RWRP so it's a small humbucker). Each of these coil pairs have their own output, and all of these outputs are buffered and summed in each low pass filter. I make my multicoil pickups in the "new" configuration, my "SEP" variant. I also make a modified version of the "old" configuration that allows for Series, "Standard P", "Reverse P", and Parallel wirings (my "SPPP" variant). The advantage here being that all wirings are humbucking. See below... SEP Variant SPPP Variant

To my ear, the that guy is playing it an octave up from the isolated track, and i don't hear an open A in there either. Here's the run I'm hearing on my phone speaker, noting that the E string is downtuned to a D. A -5-3- D ---- -6-5-3-0-3-5-0

Design revision required - turns out my velcro is great at keeping pedals in place when gravity is working with it, not so much in the opposite direction. It was actually the adhesive that failed, not the velcro itself. Bugger. So a more permanent way of attaching the PSU is required. I could replace the tape with... better tape like 3M Dual Lock but I figured in keeping with the whole "make do and mend" approach I'd find a way to mechanically couple the PSU to the board. Someone on here, I'm sure it was put up a picture of using bike chain links as brackets to attach pedals to boards. As luck would have it, I had a small length of bike chain lying around so I spent a satisfying 20 mins or so bashing the rivets out of the chain. Thanks to T-Rex putting all the screws on the side and none on the bottom, I had to bend the links to make right angle brackets. This is when I found out that the outer links are too brittle to be bent, but the inner ones are fine? Anyway, some hammering and bending round the vice gave me this: Now, just need to find some screws small enough to get in those wee holes. Maybe tuner screws, maybe pickguard screws. Time for a rummage in the spares boxes!

Would rather be gigging than sitting on my arse. Music is meant to be played live and not confined to the bedroom.

Swindon. Nuff said. VID-20240302-WA0002.mp4

I had an acoustic gig today. 2-5 at The Twisted Pear in Beachwood. Respectable size crowd and it was a nice place. Somebody spent allot of $$$ renovating. We were ok, my playing was pretty decent, I got paid and I was home by 6. Daryl

Some real irony to Aberdeen being a Low Emission Zone...

Latest batch of update photos from Mike, and time to start getting proper excited now, I think! 😊 Scheduled to pick up next weekend at present. Mike's been testing the various pickup connections at each stage of assembly, but has not so far been able to sound test them. I can't wait to hear them. He's a true artist and I've no doubt at all they'll sound every bit as good as they and the bass looks.

With a landmark birthday imminent, I decided to treat myself to new bass. Which would be an upgrade to the two Squier classic vibe bases I’ve been playing for a while. (A Mustang and a Jaguar). I’ve been down many internet rabbit holes, thinking about options. But haven’t had much of a chance to try out any contenders, given the lack of shops that stock much more than the most popular models. Especially given I was trying to decided if I prefer short or medium scale. So I decided to make the trip from Cardiff to the Guitar Show in Birmingham last Saturday, to actually touch some basses. The plan was to check out some basses by Reverend, Sandberg, anything else that might be interesting and pay a visit to the Vintage Bass Room stand to try something a bit more classic (just to see). I was impressed with basses by Reverend,Sandberg and a couple of lovely medium scale builds from @Manton Customs. But none of them made me smile like the vintage basses that @walshy and @AndyTravis where showing off at the Vintage Bass Room stand. Turns out what I really needed in my life was a well played in 2EQ stingray. It looks fantastic, but plays and sounds even better. So it came home with me. I was planning to keep it in its case for over week to make the lead up to the big day exciting. I lasted 24 hours. Spent about an hour with it yesterday at home, through my Ashdown studio 15 combo. Happily the bass plays and sounds just as good I remember at home. I’m looking forward to getting into a rehearsal room in a couple of week to see how it sounds with drums and guitar. Just need to get a proper band sorted so I can get gigging with it. Here’s a picture at home, much better pics and more details can be found at Vintage Bass Rooms Thanks @walshy for making it possible for to own such a great instrument, and being great to deal with.

No, this time you can punch someone AND leave after 30 minutes.

Interpretation of yourself?

Looks like two ghosts waving.

Anatolian rock. This was a genre that appeared in Turkey during the late 1960s, mixing the sounds of psychedelic rock with traditional Anatolian rhthyms and melodies. Baris Manco - Egri Egri Dogru Dogru (this could be a list of three of his songs, as he was the absolute king of this scene) Cem Karaca - Tamirci Ciragi Adimiz Miskindir Bizim · Mazhar Ve Fuat

If Trump is reelected, America is dead to me.

Something's been bugging me about these - it's the single colour on the headstock. Should Epiphone have done a trad black headstock with colour outline? Here's a quick and dirty mockup: VS FIGHT

I see your singers and raise you a keyboardist. This is where my lifelong distrust and aversion for keyboardists comes from... Once upon a time I answered an ad for a funk band with female singers. It was like an X factor style audition being run by the guitarist who was a decent enough chap but the songs were more indie rock. There were loads of other guitarists and drummers there but only me as a bassist so I was kept. A week later and we audition a keys player. Dave shows up, long hair, looks like he wants a job in IT support but isn't bright enough, spends forever setting up his scaffolding for all his keyboards while talking about all these festivals he's played where the soundman didn't even have x, y z but of kit we've never heard of. Eventually he's ready to play a song. He hasn't listened to the audition songs or come prepared in any way. Stereophonics song? "Oh..... Errrr, Welsh band aren't they? I think I might have heard them on a cassette. My girlfriend is Welsh." Ummm thanks Dave. He plink plonks a couple of notes while we play. He doesn't even try to overwhelm us with weird sound effects, he just stands there looking confused the whole night, even when we tell him the chords. Guitarist invites him back the next week if he can learn some of the songs. Next week. Dave has clearly not learned anything and I doubt if he could achieve Grade 1 piano. After bashing through some songs hoping he will catch up guitarists says "let's pack away and when he goes get all our gear back out". I've packed away and Dave is still dismantling his huge keys rig so I get bored and say F this I'm off home. Half an hour later I get a call from the guitarist through gritted teeth: "I know you haven't got them, but can you check all your pockets and cases for Dave's car keys? We've turned the place upside down and just can't find them." I didn't have them. A long while later I get a text. Dave's car keys were eventually found after checking everywhere including in the till of the pub. They were in the pocket of his hoodie all along. I never saw Dave again. I've never played with a keys player since.