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Still on fire, and Doug Wimbish is a monster Setlist is Cult of Personality, Pride, Love Rears Its Ugly Head, Time's Up, Solace of You

A good one. That's both sets sorted. They threw some unexpected arrangements at me tonight and I had to cope on the fly. We finished by jamming Need Your Love So Bad. Typical Peter Green song - sounds like a standard 12 bar blues but is very different. Amazed myself by anticipating the chord sequence and even managing a bass solo - I've never played it before. TBH that's as good as it gets 🙂

I can paint the baffle any colour you like as long as it's British Racing Green. 😀 Only joking.... if you want a different coloured baffle, you just need to give me the paint reference (RAL number ideally). There's no extra charge.

Don't mention the tinnitus!!

I'm playing Glastonbury 2025, I have 4 gigs lined up, playing with Andrew Maxwell Morris. Wednesday 25th: Toad Hall - 17.10-17.50 (40mins) Thursday 26th: Mandala Stage - 14.00-14.45 (45 mins) Friday 27th: Open Arms - 12.00- 12.45 (45 mins) Small World Stage - 14.10-15.00 (50 mins) I so can't wait 😁

If you wouldn't bring a bass into a situation you would put yourself into, you really need to reevaluate your life choices 😁

You see, if you played jazz then gigging it would expose it to fewer people than at home. Job done!

Still, you could always take a chance (someone had to start the ABBA puns).

Myth. Someone with bat like hearing will claim that they can hear a difference, but I call shenanigans. Your bass, your decision. As long as it’s played and not kept in a case, it fulfills its purpose. Yes, yes it would.

BCC - anonymity guaranteed OK, think I've taken that too far now. Right, I'm going to call it - Brewdog Union Square, 2pm. Seems like a good shout, you can get beer if you want it, decent alcohol free options if you want it, coffee if you want it, food if you want it. I count 5 participants available (including myself) so far, so I'll book a space for 6 and see how it goes. If we need more room we'll probably be fine.

I hope this does not turn into a rant, but... here goes: In general, the main difference between mains cable and speaker cable is that the speaker cable is more flexible and generally has more strands. The good brands are also virtually oxygen free. You will not really notice the difference sound wise, just the lack of flexibility. So why use speaker cable? It's more flexible, less power is absorbed in the cable, and it is generally no more expensive than cut cable. Many sites sell Van Damme Studio (blue). This is a rigid (in comparison to tour grade cable), cable designed for Studio Installations where they do not move. They do a tour grade speaker cable, but it seems to be quite rare. I use Sommer Meridien, for my speaker cables it has even more cores than the others (120+ Vs 80+) on the market and coils beautifully. The best speakers cables won't make you play like a pro, but they are designed for the job. The same is true of many instrument cables, although there the benefits can be huge and the reliability of cheaper cables is suspect. As I make cables for people, I often get sent, or given, faulty cables. It may sound strange, but I learn a lot from them. The first thing is that the name brands often don't make good cables. It is often style over substance, with a posh tweed covered cable attached to a poor riveted plug moulded inside a rubberised or PVC boot. Similarly, speaker cables with Speakons can only be recommended if the speakon is from a reputable manufacturer. Neutrik, of course, but REAN (Neutrik subsidiary), Cliff and Amphenol all make good speakons to the relevant standards. A £15 cable eBay/Amazon will not usually have "legal" speakons. One look at the cost, even in bulk, of a decent speakon is close to £5. A decent 2.5mm cable would probably be £4/metre. So there is little left for profit and postage on a £15 cable. Anyone that has bought cables from me will know I am happy to chat about cables, I have made speaker cables instrument cables and wireless cables (to connect instruments to wireless backpacks) as well as unusual cables, so I now have years of experience. Despite SWMBO* moaning about the amount of stock, I am almost as happy to lose a sale rather than sell something that is either wrong, or where a viable version is available from elsewhere. *She who must be obeyed does not moan and has the patience of a saint really.

We had a similar thing happen with what looks like a similar type of operation Steve (large community arts centre). They did it in a slightly different way, that is every person we spoke to directed us to someone else. When we found the person responsible for payment they tried the 'Your quote wasn't in the correct form' thing. IIRC our singer just persisted, went to everyone about it (local council etc), and after a couple of months we got paid. What really annoyed us was the the gig was rammed, with the businesses in the space itself (food, bars, retail) telling us they'd never had such a large crowd in, in fact one of them ran out of food, but the people who run the place are just creating bad PR for those businesses by ensuring that bands like our will never play there again 😡 Hope you get it sorted Steve

Primarily I’m not much of a fan of compression. I really liked the eq circuit. I’m interested to try the Lusithand Rosa in the hope its the same eq just in an overdrive. It’s the feel of it really, possibly due to lack of knowledge. I love compression in the studio but I’ve never found one I like on a pedalboard. I could really hear the envelope of attack on the Diamond with how I play. I prefer a more subtle limiting but tonally what it does just being in path is really nice. Also I must point out I feel like I’m operating in the top 1% of pedals, there are no bad pedals here, everything is great, just something suit me a little more than others and I just didn’t see where it would fit with the Punchline. Mostly though @Sibob wanted it and I’m a sucker for an easy sale.

I know that they're in other bands, presumably as permanent members, whereas with your band, they're temps. Just asking them to be members on a more permanent basis might be a motivator, whether they accept or not.

Used mine on Sunday with the two 1x10 matching cabs that I acquired from @fleabag Outdoors, drums, guitar, vox, keys and, a surprise late addition of a harp player with (loud) amp. Kept up easily and sounded super with my Flea Jazz. All easily packed on the back seat of my 62 year old Morris 1100 which gets to take me to gigs when the weather is nice and the venue is local. Love it.

I did ask google "Can you fit a dead body into the boot of a Mazda MX-5" but got no answer. Looks like you can fit about the same amount into the boot as I did onto a Triumph Bonneville a few years ago to go riding round Ireland with Mrs Zero.

Nice old jazz there, would look nice in Olympic white, and with a nitro finish it would wear naturally

It’s yours so do whatever you like it’s already been refinished once so the “authenticity” is anyway reduced if it were me, I’d buy a cheap look-a-like of rutger’s jazz in case of theft

I thought about doing that too, Si. You can have that effect on people. 💋

I don't fully get the question. They're adults: they manage themselves. They know what the expectations are, how often we're aiming to play, how much time they are likely to need and what sort of availability, etc etc. If that works for them, then they make it work. Motivation? They have to like playing with the band, that's all it takes really. There's one guy in particular playing with us, trumpet, who makes a lot more money with other gigs than with us, but still plays most of our gigs. He just likes to do it, so he makes it happen. If somebody is a problem with their level of commitment or creating scheduling issues, then THEY are not motivated enough for that particular band. It's not down to me to change their mind.

A band I play in played at this small venue in Southsea last Fridy night. Blazing hot load in and subsequent load out. Very few people about and so a very low turnout. Long stort short (as you will have guessed, I bet), the lady is refusing to pay the band any money at all (a fee was agreed in writing). She was pleasant on the night and watched as we played all evening, presumably having decided she wasn't going to pay us anything. I will be going to the Small Claims Court, but any locals who may get a gig there, I would be inclined to not play there.

Ah, yes. . . . C3 (not split) and 2 Leslie cabs!!! Thank god for Nord.

Nothing wrong with taking the odd freebie if its going to pay dividends down the line, we once took a freebie playing for Katie price just because we wanted to see how big they are irl 🫡

Those big amps and speakers are tough, but a complete Hammond with Leslie is even worse. An ex-friend of mine had such a set during one tour. After that tour I have not spoken to him. And I will never speak again.

When it comes to the arts, we have such a stupid system that you need to beg for cash with the only money allocated based on the estimated economic impact of your work (which is, in most cases, entirely made up anyway). The entire classical music world – apart form a few exceptions – is funded through grants because to expose it to the market would see its demise. Societally, we need to find other ways to value the skills and to fund them. If we could break free from the moral objections to a UBI, we'd be much better off. Be a lot simpler than pretending that there are enough jobs to go around (when there clearly aren't and probably won't ever be again in the future...)

It’s your bass, so go ahead if that’s what you really want to do. Unfortunately, most of the audience and the rest of the band likely won’t give a fizz about it.

The best thing you can do is to not concentrate on it. I can tune mine out a lot of the time. Unfortunately reading this thread has made it obvious again!

I’m a massive fan of oly white with mint guard, so that’s my vote 👍

I’m in the same camp. Not my favourite colour anyway and enough has been changed on it already that it won’t appeal to collectors.

Just use it as is. I can undertand the ABBA folk doing their best to look right but I would question the need for anyone else. Rutger may have wished his Jazz was the colour of yours (not far removed from his Hagstrom, by the way). His was also a dot neck. Are you changing that? If not, you're not authentic. Personally, play it as it is and save yourself the money (and the time without it). I played in a very good ABBA tribue with a 75 black Jazz with pearl blocks on the maple neck. Up to you, of course, but why bother?

Do it. You sound like you want to do it. Possibly there's an expectation you shouldn't which is weighing on you? If someone wants to have a 74 and not touch it, let them buy one. That one is yours. Do as you want with it but, most importantly, play it.

This argument has been had here a million times. Artists like Ed Sheeran, Foo Fighters etc. can afford to do the odd charity gig. It's probably got tax benefits for them to do so. Smaller artists, bands and other performers shouldn't be asked or expected to play for free, especially not when Glastonbury is charging £300 a ticket or whatever it is. In many cases, it's these unique performances at smaller stages that make the festival what it is. Venue owners love charity gigs because they get to put up posters, sell beer and feel they're doing the right thing while nobody else gets paid. I'm sure it all comes from a good place, but I don't like it.

Find an alternative use for the incorrect one Insist it was meant to be that all along Don't ask me why my printer stand is coated in Tuff Cab

Oh god - it has taken me the best part of 7 years to get that song dumped from the set list! Even then it keeps coming back like a zombie in a bad B movie!

1966 jazz bass in candy apple red. Stays in its case. Won’t take it to gigs, won’t sell it. Took 2 years of saving up to buy it.

Got another one in today, this is the Gary Brown part for the tune 'Primeira Estrela' from the 2003 Flora Purim album, 'Speak No Evil'. Needs a low B but not overly difficult to play once you get the feel. https://bilbosbassbites.co.uk/primeira-estrela-flora-purim/

So, played the Farmyard Party at the weekend - pics above on @casapete's post a couple of pages ago. The Friday was very hot and sticky. As we were staying over, I had to put up a large tent pretty much on my own (the missus is recovering from an operation on her hands) in rock hard ground - hence me managing to look sweaty, pasty and sunburnt all at the same time in the picture of me and Pete above. Great to meet Pete before the gig - I was obviously pretty busy trying to get everything ready for our show, so I only managed to see a couple of songs from his band, but he is obviously a very tidy bass player. There was a bit of a groan from backstage as they played a song on our setlist, but fortunately that seemed to be the only one, so we managed to avoid too many duplicate songs! The gig itself was a bit hit and miss. We had a (very good) dep guitarist and it had been sounding brilliant in the three rehearsals we managed to get in before. However, live there were a few adventures starting and (particularly) ending songs and a fair few missed cues. Endings became a bit of a negotiation between me, the guitarist and the drummer, with the poor keyboard player trying to work out what was happening from the other side of the stage! However, we got a pretty good audience reaction and had a lot of very positive feedback after the show (with a couple of gig offers thrown in), so it can't have been too bad - amazing what you can get away without the audience noticing when playing live sometimes! Gear wise, I was using the 78 P bass and the usual set-up of a Shure GLXD wireless, Thumpinator, Cali76 bass comp and Caveman pre into a Handbox R400 and Berg CN212 cab.

It depends on what you mean by handle low B string. It is the 30hz to 80hz content that is the concern. Most modern 12" bass cabs will handle it pretty well with a high pass filter to snuff out the 30hz content and let through some 60hz. The higher performing ones folks are recommending you can make that 60hz quite loud. None of them will produce audible 30hz so a HPF is still a very handy thing. A lot of players even take out a bit of the 60 to 80hz. Their cab is too good at making it and the tone gets to be wallowing in lows.

Monogamy is for relationships PolyBandry is fine, just be open about it.

I really need help! An opportunity to get my greasy mits on something I've wanted for 20+ yrs came up and I couldn't say no. Especially considering there aren't many of them around these days and certainly not in New Zealand. It cost me my beloved first run CIJ Jaguar and a bit of cash but once I saw that beautiful quilted amber maple top, honestly, it was worth it!!! It is an absolute SUPER Jazz, in every sense. it is pretty tidy all over, save for a couple of tiny nicks and the tones are simply astounding. It can pretty much do it all, with ease. Only issue is the pickup pan knob is a little scratchy so will give it all a once over later. But yeah, pretty darn happy!!! 2024 ain't bad so far