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Showing content with the highest reputation on 15/08/24 in all areas
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Well. I’ve wanted one for a while… I’m not disappointed in the slightest. it’s a cracking 42 year old. Lovely weight. Very good condition. Yet to plug it in but just having a noodle feels awesome. thanks @walshy 👍🏻17 points
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A lovely bass and a fine example of Jon’s craftsmanship, completed February 2023. A chance to pick one up without the insanely long wait times. (This took 14 months; some folks’ builds are up to 3 years now.) It’s in pristine condition, just a bit of “finger dust”. Now you’re probably asking yourself why I’m listing this. I have 3 P basses now and the other two are the same model as each other (one with flats, one with rounds) and 41.3mm nut width. I’m finding it easier to swap between those as the widths are the same. Also, despite my wanting a narrow-nut P bass again, I’ve finally come to appreciate and enjoy the slightly wider string spacing (only taken me 30 years)! The specs are as follows: 34" scale; 20 frets; 38.5mm nut width; 19mm string spacing; 21.5mm neck depth at 1st fret; 23.5mm at 12th; shallow C carve; Mastergrade quarter-sawn, roasted flame maple neck; rosewood fretboard; Rolled fingerboard edges; 9.5" radius board; 2-way truss rod; carbon fibre reinforcement; medium jumbo stainless steel fretwire; bone nut; 2mm cream side dots; 6mm cream face dots; satin finish on the neck; Schaller BM clover leaf tuners chrome; Hipshot triple string tree chrome; traditional P shape; alder; usual contours; reduced heel with recessed fixings (no plate); polyester basecoat; Olympic White; Tort/white/black/white 4-ply pick guard (traditional P shape); ABM 3704c19 bridge; Fralin (stock wound) pickup; volume / tone knobs (domed chrome, with small, discreet dot markers); Schaller strap locks; Shuker embossed Hiscox hardcase. Currently strung with Chromes 50-105 with super-low, buzz-free action. The in-joke decal is just a transfer and so can be easily removed according to Jon. Still has the cellophane on the pick guard. Collection from Sheffield. (For this sale, I’ll only deal with members who have a verifiable history/feedback record on here - no newly signed-up members, thanks.) I could potentially hand deliver to the Bath/Bristol area (only for a completed sale). The only bass trades I’d consider are these: Fender American Professional II Precision; Fender American Standard Precision (2012-2016 ones with the CS60 pickups). As for non-bass trades, I’d be interested in a Moog Muse or Korg ARP Odyssey (rev 1 or 2 version only). Any related questions, please ask.15 points -
Hi guys I posted a new 'announcement' in the basses for sale forum today to urge people to include a note in their sales pics with their username. Please try to add this in your new and existing listings, even if you're a trusted member (as nearly everyone on here is) just to normalise the practice for anyone who has just joined. It's just another way to ensure listings can be verified as genuine and it will prevent people using cloned pictures from other sites. Cheers ped15 points
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Perhaps you've been doing it wrong all these years; you've been changing the strings on your basses, and should have been changing the basses on the strings?9 points
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The great thing for semi-pro musicians who are otherwise retired or self-employed is that mid-week afternoon gigs are easy to fit in – as of course are holidays and things like golf, although I’m not a fan of either… This being the case for all five of us our band gets regular work playing at the many agricultural and steam-fair shows down here in Wurzel country; typical was the Gillingham and Shaftesbury Show yesterday, playing from 17:30 to 18:45 straight through. First act before us was a pair of glamorously frocked lasses, singing 1940-50 style harmonies a la Andrew Sisters, plus some more recent Post-Modern Jukebox style takes on numbers like ‘Bad Romance’ – I liked it! Following us was a funk-oriented band, with then a big brass ska outfit to finish. This year the organisers had coughed up for a proper mini-Glasto-type stage instead of pallets in a marquee, with a good PA and engineer who knew what he was doing, so we had no excuse for a poor sound! We were using guitar dep #2 from a choice of four – he’s very good. We rattled through a pretty mixed set (see attached), including a ‘new’ rock’n’roll medley featuring sax, where I actually get a total of 24 bars improve – whoopee! I must say that our KB player’s bass lines are worryingly good… Short video attached to prove we were there. Mrs G came along but made a beeline for the show-jumping (she had to give up riding a few years ago but still loves horses). Apparently our band could be heard at the main ring where she was sitting – ‘not a bad bit of sax,,,’ she mused later on the way home, ‘but I think the people doing camel-racing were a bit distracted by it!’ WhatsApp Video 2024-08-14 at 22.22.11_8eeb4d6b.mp4 1x75_minute set_v1.pdf9 points
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It's not often I agree with every single comment made on a thread but this one is currently ticking all my boxes. @Silvia Bluejay and I jointly manage (for want of a better word) all three bands I play in. We get all the gigs for all three bands, we supply the PA and lighting and cameras at every gig, we provide the rehearsal space and organise the diary, we do all the marketing and social media. My long-gone Mum used to say to me, "The more you do for other people, the more they'll let you do." She wasn't wrong. In this environment, inevitably (almost) all the others just sit back and let us do the work whilst displaying the impressive range of issues catalogued above by others. In addition I spent my entire career in managerial positions so I'm not completely clueless when it comes to steering an organisation, plus I don't suffer fools gladly and I'm not scared of confrontation. That means I end up running HR as well as being CEO. 🙄 When one of my bands needs to part company with someone, it invariably falls to me to do the dirty. So I should give it up? Walk away? Join someone else's band and let them do all this? No chance! There are compensations for all these problems ... If you want a job done well then do it yourself. Silvie and I have no diary clashes between bands because we control the diary. We don't have to tolerate an appalling mix or excessive volume at gigs because we control the PA. We don't have to play gigs at shit-holes (well, not often) because we choose which gigs we get. We don't waste time & money on rehearsing at smelly, rubbish studios because we have one right by our back door. I could easily list all the things wrong with all my bandmates (and it would be a long list) but I'm always acutely aware that they could then make up a list of all my failings (and it might well be the same length). @Mickeyboro (and for that matter @Beedster) the issue isn't how awful band leadership is. It's whether the advantages of band leadership in any given environment outweigh the drawbacks. For me, the answer remains a definite 'Yes' and long may that continue.8 points
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Oh god…I’ll never have enough post it notes 😂😂😂6 points
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Leadership in any space not only requires a very specific skillset on the part of the leader, but also a group of people prepared to be led. In my experience - and in contrast with other environments I know well such as science, business, and sport - many musicians do not fall into the ‘prepared to be led’ category. In short, a band leader has to chose their musicians not on musical talent alone but on a number of other factors. I was playing bass at a vocalist audition 20 years ago, one of the applicants was incredible, but the band leader said ‘No way’. Having seen him down two cans of 1664 before his slot, he was not prepared to take the risk that the guy was going to bring alcohol problems to gigs. Seemed harsh to me at the time given nearly all musicians I know like to drink around gigs, but for the BL it was a simple and almost certainly correct call. I’m watching this thread with sincere interest as I’m about to take a step into band leadership….. 🤔6 points
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You are truly blessed if you can find 3-4 fellow musicians with same commitment/ drive /ambition and musical taste as you have . I have done over 10 years of duo work with great acoustic guitarist / singer , no drummer / no keys / no second guitarist . We go in , set up , gig , break down and we’re home like a well oiled machine . From previous experience, being in a band can be like being in 3 dysfunctional marriages, so many issues of health / family issues / commitments/ learning the bloody songs / the list goes on .5 points
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Noguera Yves Carbonne Signature 8 Fretless: really a very rare bass as only two copies were made for right-handers. Big price drop, because an instrument that interests me has just been put on sale. See the original photos here and compare to mine to see it only has the optional ramp glued; the woods have also darkened: https://www.noguera-basses.com/modele_basse.php?serie_b=YC&model_b=Signature Yves Carbonne&page=photos&categories=Serie YC&galeries=YC Signature Yves Carbonne&nopage=5&ppp=6#galerie TRADES NOW POSSIBLE! Asking price including shipping fully insured with tracking number to your place in these European countries (ask for other countries) : Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding French overseas departments and territories), Germany, Hungary, Ireland, Italy, Latvia, Lithuania, Luxemburg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom: €3500 Euros (£2950 GBP is an approximation and I will only accept payment in Euros)!!! A similar model with all these specifications will cost you around 7000 Euros if Christian Noguera agrees to build one as it's absolutely not a standard model at all... Shipping to United Kingdom is, of course, possible and included in my asking price, but with an extra customs fee (VAT + other taxes + courier fee), because U.K. is now outside EEC. Here are the specifications : Body: one piece hollowed (acoustic chamber) mahogany Top: 2 pieces spruce Neck: bolt-on (7 screws) 3 pieces maple Fingerboard: Gabon ebony Positions (fretless): 25 on the low F# up to 36 on the high F string, so 5 octaves 11/12 or 6 octaves minus 1 half tone! Headstock: 4 + 4 Tuners: Hipshot Ultralite Made in U.S.A. Pickups: 1 Noguera single coil hum cancelling in Gabon ebony cover and 1 Noguera piezo system under the brass adjustable saddles Preamps: Aguilar OBP-3 for the magnetic pickup coupled to a Noguera piezo preamp and a Fishman PowerChip buffer allowing the signal to be separated with a (provided) stereo to two mono jacks or both signals to a mono jack Controls : magnetic volume (push-pull active/passive for the magnetic only), piezo volume, stacked bass and mids (yes mids), treble Bridge: original 2 pieces Noguera ebony/brass saddles/piezo Strings spacing at bridge: 20 mm (yes 20 mm) Nut: bone Strings spacing at nut: 9 mm (width 73 mm) Scale: 34 inches Hardware colour: black Truss rods: two, dual action, 100% functional (the two different Allen key are, of course, provided) Finish: natural satin Country of origin: France Serial number: 8002 Year: 16/08/2008 Weight: 5.145 kilos Action : from 2 mm under the F string to 2.5 mm under the F# string at 12th position (can even go way lower, but was perfect for me) Will be delivered in a superb Hiscox STD-EBP with its two keys. Non-smoking environment as usual. The bass has been fully set up professionally and will come with the Dunlop Straplok for the strap as these are recessed (or flush mount) version. It has received a new battery and new set of La Bella Super Steps made to measure for Yves Carbonne (20 - 29 - 45 - 65 - 85 - 110 - 140 - 190), which really serve this bass as they are made especially for it. What you see is what you get! Look carefully at the photos taken from different angles and lights to see the real condition, which is excellent, with the usual very light scratches and a very slight mark at the back near the neck screws. Here is the link 33 photos in high definition: https://drive.google.com/drive/folders/1NX7nk0AXTG_BlSgF1lpoHsHx3teAgYQK Due to severe back problems (67% officially disabled because of it) plus left and right shoulders injury (it's really painful to reach the tuners), I'm selling all the basses I'm not using like this one as well as some stuff I don't use. I've also considerably lowered the price for a quick sale. Don't hesitate to ask for more.4 points -
Recieved my new Stingray 5 Special yesterday, and boy is it great I'd been selling my Lakland DJ5 to fund an ADHD assessment for my youngest, but as it took so long to sell, shortly after we got a letter telling us she would have one on the NHS, which freed up some money. That coupled with being 40 soon meant I jumped on this, I've never had an instrument of this quality before, it's just brilliant The neck is so comfortable, I found my hand dancing over it, easily playing things I'd found more challenging before. The tone is clear, articulate and punchy without being thin or clanky; I'll need to spend a bit more time with the onboard pre-amp and my practice set-up to get the best out of it, last night I was pretty much running it flat The low B is excellent, articulate and big sounding, but still well balanced with the other four strings - something I've been searching for in a five string for ages That 18v pre is a monster though, a little goes a long way and you can get into clipping very easily. It seems a bass that's very responsive to your playing, the tone shifting a fair bit depending on your hand position and how much you dig in. I wasn't running any compression last night, but I'll experiment with that too. All in all, I'm a bit smitten and very glad I've bought it Technically, I received two basses yesterday as I also paid my colleague for the de-fretted Ibanez SR505 he leant me *ages* ago, so whilst it's not new to me, it is newly mine. I'd been having a lot of fun playing the fretless, I definitely need to work on my intonation though. Looking forward to dropping the tuning down a tone to play some Death and Cynic Anyway, I know you're mostly here for pictures, so4 points
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Maybe one of our super artistic types on basschat could make a printable card with the BassChat logo and username printed. Like a trade show name tag / ID / Business card design? Oh and maybe a QR code to take the reader straight to BassChat / the user?4 points
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As I always say when someone starts one of these threads. If you feel strongly enough about the situation to have posted in a publicly visible part of an internet forum, then you've probably also made up your mind that either you or the problematic band members need to go.4 points
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I'm downsizing my bass collection. Here you have a difficult to find Schecter. Headstock and bridge with Schecter logo Original Schecter Electronics Pickups Moster Tone Single Double Coil The sound is incredible powerful Jazz Bass Maple neck with very dark Rosewood fingerboard similar to the Fender 60s3 points -
Trace Elliot 100w 715 combo for sale Cover is pretty much rubbish- as it was when I bought it, so you’ll want to get a better cheapie sleeve. Sounds really really loud- as you’d expect. Owned for about a year, and it’s in remarkably good condition for a Series 6 (probably around 30 years old I reckon). Unable to ship due to weight, so pick up only please. I have gigs left this month in Kings Lynn, Ipswich, Norwich, Hemsby, Ashill and Cromer. So you could meet me at one of those. Or next month’s gigs are Poringland, Kings Lynnx2, Gorleston, Hingham, Northwold, Horning, Lowestoft and Claydon. Not really after trades, as I have far too much gear and trying to have a clear out. Thanks for looking Paul3 points -
I’ll wager if your drummer pops round to see @cetera he’ll think he has some catching up to do 😎3 points
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Congratulations The early 400RB's are fantastic aren't they? I discovered how great the 400RB is by chance when I went round to meet a bass hero of mine, the lovely James Eller to drop off a pedal he'd bought off me. We had a cup of tea, chat about gear & I had a play through his 400RB, and loved the punchy articulate tone it had. Wanted one but they seldom come up for sale in the UK. Then shortly after that, whilst I was out on a business trip to Nashville, and by chance found one in a dusty old pawn shop in the city suburbs. They didn't want much for it, I think about $100, so I snapped it up & brought it back to the UK in my suitcase I got the chunky 110v transformer changed for a more efficient 240v toroidal one, which also made the amp lighter. Gigged it heavily for a while, and it never let me down & still using it today after 10+ years. It's my only amp and still sounds great, especially with a couple Vanderkley 12"s getting the 4ohm potential. They are a wonderful amp IMHO, so easy to dial in a nice tone. Keep on to it! Cheers 👍3 points
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Deleted.3 points -
I must admit I like new strings when I buy a used bass. Using someone else’s seems a bit gross, but then again, flats are smooth enough that they can be cleaned at least on the surface, to an extent. Personally though I’d start a new set.3 points
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Don't we have the Guitarchat section for those? 🫣3 points
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Ah, shizzle. I been egg-bound for years working toward my perfect studio environment...3 points
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There are different personality traits involved. In my experience, these are often: Practical "Whatever..." Dreamer Crazy I consider myself the 1st trait and ran an internationally successful tribute for 25 years. I considered distance, profile, costs, earning potential, family, and numerous other things when booking shows. A fellow founding member sadly fit a combination of the latter two traits. The two other band members fit the 2nd. I left in the end as I felt the other founding member was scheming against me with the other two on the fence behind him. I was right, but they continued with a replacement and the other founding member taking over. They haven't played internationally since, their reputation on the scene has suffered and even the two 'sheep' members ended up leaving too as they couldn't deal with his controlling, impractical ways.... Sometimes you just need more people on your wavelength or decide to move on to different and often better things. I can't be bothered to organise gigs etc anymore. It's a long and often thankless task, particularly with the lack of appreciation of band members. I now just do good deps, have just joined a local covers band with 3 guys for beers, laughs & pocket money.... and I leave myself open to bigger opportunities (like my 5 week Euro tour last year with a US blues artist). It makes for a less stressful experience....3 points
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Agreed. Assuming no actual corrosion, then those strings will form part of your grave goods.3 points
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An occasional wipe with a soft cloth with some mineral oil (or lemon oil) will keep them clean, or if they're a bit grubby it should help clean them up. If they're stainless steel flats like D'addario chromes (my string of choice for my mustangs), they should pretty much go on forever. If the surface is pitted or manky and/or they sound bad or don't intonate, its probably time to think about investing in a new set.3 points
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For me there is no substitute for playing the songs over and over until each becomes becomes almost automatic. I'm slightly dyslexic so notes other than the most basic ones are of little use as I simply can't read and play at the same time. Also because I move about quite a bit on stage I can't guarantee that I'll be in a position to be able see them if my memory did go blank mid-song. Having said that I do seem to be getting better at remembering how all the songs I need to play go as I have got older. I certainly wouldn't have been able to remember how to play 30-40 songs in two different styles when I first started gigging 45 years ago.3 points
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Both my bands are collaborative - everyone mucks in with the setting up and tearing down. I'm not super front foot about getting gigs, but I organise and print out set lists and in the originals band seem to have become chief artwork provider - which is fine because my songwriting has taken a major back seat lately, just don't think I've got that much to say that worth putting to music. No-one's slacking, everyone's doing their homework, there's no true central "leader" figure in either band, we keep each other honest. Is this weird?3 points
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Repetition used to really help for me. But then if you asked me how many bars until this change happens etc. I wouldn't know without the lyrics and drums as prompts. The band I'm in now does something people either hate or are indifferent to: we have iPads on our mic stands with notes on the songs. Some of my notes are just "riff B-E" for the whole song, others are section by section spelling out the chords. It's not perfect, it becomes a crutch and stops you properly internalising some songs, but when you've got a hundred songs in the repertoire and you change up the sets for each gig then it's just simply not possible to remember them all.3 points
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Egg boxes didn't absorb sound, they were used in radio stations and recording studios as diffusion devices. By scattering reflected sound waves they greatly reduced reverb and echo compared to flat surfaces. The shape became associated with improving acoustics, so when acoustical foam came along that shape was adopted. But foam lacks the density required to be an effective diffuser, so from that standpoint there's no advantage to the shape. Foam does absorb sound, with the rate of absorption and frequency to which it does so determined by its depth. Since the depth of the foam is less in the dimples it's less effective than foam with no dimples.3 points
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I'm usually in full agreement with your wisdom and advice on here, but I made a decision along these lines only to have a conversation later with a friend who made me regret it. I fell out with a long term friend/ musical partner with whom we had transitioned our blues covers band to an originals blues-rock band. We fell out over something that seemed at the time irreparable, leading to me walking out. Met up with a pal, drummer with a very well known band from the 80s, still doing the nostalgia circuit every couple of years, who had also just had a bust up with the main man. He thought it may have been the end for him, but he was called the next morning and main man said that the row was because they both cared about the point so much, and that was a good thing. Looking back (there's an unintended clue there) that was exactly what had happened between me and my singer.3 points
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Very good point there. In my last band both the drummer and I were 100% committed but it was the singer/guitarist who led, we were 100% with him but neither of us were the types with the drive to lead, but we were always in full agreement with him, it wasn`t "his vision" it was all of ours, he was voicing and leading on behalf of us. Thinking about some of the people I`ve been in bands with that band wouldn`t have achieved anywhere near what it has if they had been involved.3 points
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Hurtsfall will be playing at the Peculiar Market in Stevenage on Saturday 17th August: It's a daytime gig starting at 11.00 and we'll be playing at around 1.15pm3 points
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If it's your band that you put together, hired all the musicians and the original premise hasn't changed then you need to sack the ones causing issues. If, on the other hand, you have defaulted into the band leader position because the rest of the band are flakey, then leave and join another band. The third option would be that the band has just drifted into being something that no one actually agreed it would be. In which case, you all sit down, discuss what commitment levels you have, what gigs you want to play and what songs are and aren't working. Basically discuss all the issues and see where the band is. And then leave or have a more realistic expectation of what the band actually is and where it's going.3 points
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Ouch. Cabs should be fully lined, with foam or polyester batting, 25 to 50mm thick. Mattress topper foam is inexpensive, as is furniture upholstery batting. Don't bother with materials advertised for speaker cabs, they're more expensive but don't work any better. Adhere it with spray glue.3 points
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I'm a big OHM fan too. I do enjoy a bit of Navarro, and loved what he brought to it. The man really knows how to make a wall of psychedelic sound with a guitar, a Marshall and a bunch of reverb and delay, and also knows how to write a killer simple riff. It's also Flea being more Flea than on any other album, in my opinion. There's the funky slap stuff, obviously (Aeroplane, Coffee Shop, etc), some great riffing (Warped, Shallow Be Thy Game), and loads of lovely melodic and counterpoint stuff all over the place (Deep Kick, Transcending, etc). The Alembic tone on the record is also pretty great. This was also, in my opinion, the last album where Kiedis actually sincerely emoted. Incidentally, Dave Navarro and Eric Avery from Jane's made a fantastic album after Jane's broke up the first time around called Deconstruction. It's an album all about life in Los Angeles in its many guises, and kinda set the tone for the approach Navarro would take during his time with RHCP, in terms of psychedelic/post-punk influences. If you've never heard it, take a listen. Not many people are aware of it, but everyone who listens to it ends up loving it. It's melancholy, melodic and quite beautiful, in a bleak sort of way.3 points
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I bought this from the classifieds here. My old friend @shug has one of these, and, despite being a remarkable human being, and probably the best bass player in the north west, he also sounds very good. At a festival gig a couple of months ago, his band were on after mine. My wife Jan and I stayed for the evening and enjoyed the show. This amp, through Barefaced 10's, and Shugs playing, combined to be simply sublime. So, I have to try one don't I? Anyway, it's here. It's not the best example you might find. It had loose DIY rack ears mounted with pop rivets which have now been removed, and the case is a bit battered and scratched. But it's functional, and I've spent a bit of time with it over the last couple of days. I have other splendid amps, some quite expensive, but this thing has me scratching my head. It sounds bloody marvelous! It's so present, so right here in the room, so hefty, weighty and toneful. It's got me wondering that modern amp manufacture has taken a wrong turn somewhere. Why didn't they just stop here? I actually can't believe that tomorrow night I'm choosing to take the cheapest bit of kit I own out for a gig, and I'm really looking forward to using it. Yours, puzzled, Rob2 points
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We've always been a narco-syndicalist commune. We take it in turn to act as sort of an executive officer for the week. But all the decisions of that officer have to be ratified at a special bi-weekly meeting, by a simple majority in the case of purely internal affairs, or by a two-thirds majority in the case of more major...2 points
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A brief update on this. Jon Shuker came back to me with a price for building the neck and assembling the bass which was too good to turn down, so that's happening, just waiting on a lead time. The neck is basically the same spec as he puts on the JJ Burnel Zenith bass: Roasted flamed maple neck and board. Carbon reinforcement. Brass nut. Stainless fret wire (small). 16" radius (I know it's not traditional but I like a flat neck). 43mm nut width. Black dot inlays. Luminlay fret markers. Also, today I ordered the majority of the hardware. Well, everything I could get from Thomann at least. I've gone for: Gotoh Resolite tuners in Nickel. Brass Gotoh 203 Bridge in Nickel. Large Gotoh strap buttons in nickel. An EMG GZR pickup. I'm slightly questioning my pickup choice, but I love the sound of the GZR in all the demos I've heard, and I'm a big Sabbath fan. I may change it in the future but I'm sure it'll do a perfectly decent job. All that's missing is a neck plate and mounting screws, a scratch plate and mounting screws, and some knobs. I think I'm going to end up with a pretty amazing P-bass for a relatively reasonable amount of money.2 points
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Two USA Laklands: Two vintage Jazzes: Two Precisions:2 points
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I'm a bit like the OP and also a couple of the other posts above. I find unless I'm playing the song regularly, specific riffs/fills etc disappear from my head. The OP mentions 'Don't Stop Believing' and this is a good example of my struggle - I know and can play the riff but if it were to come up as a request and I hadn't recently played it, I'd have difficulty getting it started. In my case I have an annotated paper* set list for every gig, with not only song and key but notes (a bit like @uk_lefty above), e.g. 'riff starts on A', 'descending middle 8', 'vox only at end' and sometimes the first few words of lyrics if I'm singing. The notes are very personalised so I wouldn't expect anyone else to be able to use them. The set list is normally no more than 1 side of A4 and usually I'll split that into 1xA5 per half so it's not intrusive. More often than not the notes are a prompt rather than something to sight read and I always try not to use them if I can help it. *Paper because I have seen tablets and laptops crash to a halt, crash to the ground and run out of power. I have also seen people contorting themselves to try and see despite the reflections from lights/sun on the screen. That said, I depped with a mate's band at a festival and had three sheets of notes (Eagles covers, only a few days to prepare) when, during the first song, a gust of wind distributed the notes to the audience. I I fell back on the 'watch the guitarist's fingering' technique and made it through. Paper notes and now gaffa'd into place.2 points
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Pssst, want to buy some post-it notes. VGC, one careful owner...2 points
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Yep, although I said earlier that in my last band we were all 100% in the same direction there was a division of labour. I`d say looking at it we were all in the practical camp. Singer/Guitarist - wrote 60% of the songs (but all lyrics), did all the online presence, designed album covers, arranged all the gigs, booked hotels when we were touring. Drummer - dealt with all the online merch sales (this actually quite considerable, so was time consuming). Me - I wrote about 40% of the songs (music only, though gave ideas for what the song was to be about) got one gig and printed the set lists. I also arranged ferries/flights/hotels in this country. I consider the set lists my greatest achievements, they were mighty fine!2 points
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Find out what works for you to aid memory, and use your preferred learning style. Visual Learners: Use sheet music, diagrams, or colour-coded notes. Visual aids like charts can help you see patterns and structures in the music. Auditory Learners: Listen to recordings of the song repeatedly. Try singing or humming your part to reinforce your memory through sound. Kinesthetic Learners: Engage in physical practice. Play along with the song or use hand movements to associate actions with notes. Break the song down, divide it into smaller sections. Focus on mastering one section at a time before moving on to the next. And regularly practice each section. Repetition strengthens neural pathways, making it easier to recall the music later.2 points
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Or, of course, you could cover it with gaffa tape2 points
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Tablets are a game changer. Especially if you have a very low stand and put it to the side so no one notices it. Put it at chest height in front of you, and we may as well resurrect the Music Stand Thread...2 points
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Totally one of a kind bass built by Docwood (Davide Palumbo), a brilliant luthier creating vintage-style basses out of Palermo, Sicily. This beast has a GUILD BISONIC pickup at neck position for the fattest, muddiest vintage tones (just take a pick to that 😍) and a LOLLAR T-BIRD pickup at "P" position. This was built for me in 2023 primarily as a recording bass and has never been gigged. It cost €2050 Euros. Almost immaculate except for very light belt buckle mark on rear (pic attached). Has Gotoh hardware and a Hipshot D-tuner. Would rather not post/courier this. Preferably to collect from Sevenoaks (on M25) or from London EC1 (near Farringdon tube). - alder body, matte olive/military drab finish - custom black pickguard - guild bs1 pickup - lollar tbird pickup - vol/ vol/ tone wiring - maple neck + pearl binding & blocks - hipshot dtuner - gotoh clover 70s style tuners - gotoh high mass bridge Check out Docwood's other guitars at https://www.instagram.com/docwoodguitars/2 points -
Not for thr first time this week Jack, I will be looking in your direction for advice!2 points
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Probably comes from the time that egg boxes were deemed to have sound absorbing properties.2 points
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A note book. If you hear or think of an interesting phrase write it down. Any odd bits of lyrics that come to you , write them down. Sometimes more structured ideas will come to you, write them down. When you come to actually finalise your song's lyrics those notes can be a useful resource for filling in gaps when you just need a line to finish a verse etc. I've kept many such note books over the years and it's not uncommon for me to use a phrase I jotted down ten years ago in a song I'm writing now . I Sometimes make notes just brainstorming ideas for months on a theme before moulding them into lyrics. The current A4 book showing the notes, rough work and out takes from a recently finished song. I had the original idea about ten years ago and finally got it done a few months back after a few false starts. It's a silly country and western song. The book is filling up with pages of similar gibberish that may or may not find it's way into a song. A thesaurus and rhyming dictionary are useful too.2 points
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For the covers band I play drums in, the bass player only brings one pick (obviously too expensive to have more) and is always misplacing it or dropping it during a number. I usually have spare picks lying around in my gig bag (after all I'm the drummer, why wouldn't I) but after getting fed up with lending them to him I got one of those round red 'break glass in emergency' box and installed behind the glass a shiny new pick. I hang said box off the cymbal stand on the side he plays on... he still hasn't bought a spare pick but it's funny watching him contemplate actually smashing the glass when he gets desperate!2 points
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Welcome to the 'knowledge'. I've played through most well known amp brands and I always come back to GK and, in particular, the original 80's/90's 400RB and 800RB heads. Pair either with an efficient 4 ohm cab and you have tone and volume for days. They're workhorses and will last years, punching through any mix with solid authority. Congratulations and enjoy the ride! Btw.... A suggestion that many owners of old GK owners swear by...... put a short patch lead between the send and return on the fx loop and leave it there permanently (if not using the loop). It stop oxidisation in the iputs which can cause some intermittent audio drop outs.2 points
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