Gareth Hughes

Good stuff. Here's another potential spanner in the works - the effects loop on a Streamliner is in series, meaning that the signal will leave the amp entirely and then have to return via the effects return (obviously). So, in your scenario - your pickup signal would leave the amp via the effects send and would not be present on the effects return until it comes from the mixer. This gives you two options now, but requires a second external DI. Place the DI immediately after the pickup, before the amp or place it after the effects loop but before the mixer. This then leaves you with the option of using the mixer before the amp altogether or using it straight into the effects return, bypassing the amps eq. Given the humungous low end of the Streamliner, a DI with an eq or high pass filter would be a good choice.

+1 for the Vintage Revolution in theory ( I haven't heard one). One thing about your signal path though - the DI from your amp head will most likely include the mic signal coming in through the effects return, so you would have a duplicate mic signal going to the PA - one directly from the mic DI and the second coming from the amp DI. I could be wrong though - and your amp's DI might be pre effects return, but if it is then it might also be pre EQ too and then that might affect the sound of your pick channel. Though, that might actually work in your favour as your pickup would be unaltered by any amp eq changes. Ignore me if this doesn't make sense - I think I've dropped the ball somewhere here.

Check out the live video of 'Waterways Flow Backwards Again' by Akiko Yano. Things get very interesting around the 1:37 mark https://www.youtube.com/watch?v=AsX48p1oc-w

I'm trying to do the reverse - get better at my treble clef sightreading. . Here's something that I've found to be a help: allocate specific notes on the fingerboard to specific notes on either clef. Use middle C as a physical reference point on your neck. So for us, transposing as we do, middle C is 5th fret/G string, 10th fret/D string, etc. That then puts the 2nd line G of the treble clef to be our G note on the 12th fret/G string, and then the E on the 1st line of the treble clef is the 9th fret/G string. So maybe it might help to think of everything beneath that first line E of the treble clef as being solely in the domain of the bass clef and beneath the 9th fret/G string note E. In other words - two ledger lines above the bass clef stave is the 9th fret/G string note E - which is the same as writing it on the first line of the treble clef. Hope that helps.

Irregardless of what type of bass it - fretless, upright, etc - my opinion is keep them on if you feel it helps you play the way you feel comfortable. I've been through the wars with the arguments for and against and it's all redundant in my opinion. Guitars have dots to guide us, pianos have black keys to guide us, we have eyes to guide us. To paraphrase something I read in 'Bass Player' a while ago on the subject of putting white markers on an upright neck - "the people that hire me don't care how I find the right note."

I like your thinking mcnach!!!

Fair play rickybails - but curse you also!!!! Now that's got me thinking again about giving it a go!!!! (which is a good thing, so thank you really)

Sold a pedal to Mikkel. Excellent communication throughout and very easy to deal with. All good!!!

Another good choice are the Barge Concepts VB2 or VB-jr pedals.

Good man yerself. Welcome!!!

Loved that. Could you ask about EQ settings on the bass or amp, and what the pickup settings are? Really love the tone in this. Thanks for sharing.

Fair play and congratulations!!!!!!

I've had an Eminence for about 12 years now and love it for it's feel and sound. Also tried a Yamaha Silent Bass a while back - an awesome contender for replacing the real thing. In all honesty tho - both don't weigh too far off what a real one does, they're just less bulky. The Yamaha probably ticks more boxes for you - it's a tidier package for travelling with, plus it's onboard EQ is very handy versus the pickup only Eminence.

Thomann is listing the Kestrel for £622 and the Kingfisher for £650.

Slightly off-topic but for Jecklin - check these out. They start off with complete beginner material - open string exercises - right up to beginning thumb position in book 3. Every example has an accompanying CD track to play along with. Great for pushing your reading, intonation and timing. And used they're as cheap as chips. Cheaper, actually. http://www.amazon.co.uk/Essential-Elements-2000-Strings-Double/dp/0634038206/ref=sr_1_1?ie=UTF8&qid=1404129938&sr=8-1&keywords=essential+elements+double+bass

[quote name='Lazybirdpete' timestamp='1404118852' post='2489350'] At the moment I'm struggling to see the particular value of the grade work or the benefit of having the grades given I'm not trying to get into music college or anything like that. [/quote] That's a fair point but I would look at it like this - irrelevant of going to college, the graded exam MATERIAL is worthwhile studying (without doing the exams) because, by the nature of it being graded, you have a marker of your progress. No matter what you study or how little time you have, every piece is studied one note at a time - so time, or lack of it, isn't an issue - it's the quality of the material you're studying. One benefit of the grade material is that there are plenty of examples of folks playing in on Youtube. Search for the title along with 'bass' and you'll get everything from amazingly talented 14 year olds to experienced pros. Good to get an idea of how a piece flows. By no means I'm I saying that the grades are the be all and end all of things to work on, but they simply provide a handy way to progress with material that gets progressively harder. Something else that might help is this: [url="http://www.amazon.co.uk/Simandl-Complete-Etudes-Double-Play-Along/dp/1596156368/ref=sr_1_1?ie=UTF8&qid=1404120909&sr=8-1&keywords=simandl+bass+play+along"]http://www.amazon.co...bass+play+along[/url] Not a method but it does get progressively more difficult, and playing along with the piano tracks is invaluable for aiding your intonation and timing with the bow. Also check of Geoff Chalmers great site - http://www.discoverdoublebass.com He has downloadable mp3's of one and two octave scales and arpeggios. All good!!

[quote name='Lazybirdpete' timestamp='1404042112' post='2488682'] I think the answer at the moment is lots of sight reading, learning new pieces and doing as much playing with other people as I can. Any thoughts? [/quote] I think this is your answer - and in doing this you'll be working on the requirements for the next exam. Two birds - one stone!!! Learning a new subset of scales and certain bowing patterns is not taking a step backwards - if it's new then it's doing nothing but adding to your overall musicianship. What you have to learn to get through a certain grade exam WILL make you a better player. In my experience of teaching I've found that the only time this isn't true is when the student does NOTHING but learn the grade requirements. By that I mean they learn the scale up and down, the three pieces and nothing else. Those students are the ones who are just trying to pass the exam and not trying to be a better musician. It sounds like you have the right attitude for learning so in my opinion you should learn the grade requirements as PART of your overall musical journey and not just the only thing to focus on right now as a means to an end.

Quick tip that a mate told me recently is to zoom into one of the tracks - ie: making the time stretch out to the smallest increment - then highlight that track and moving it a millisecond or two forward. The difference won't be audible but the peaks and troughs will not be out of phase. You know you'll have moved it too much if it sounds like you've added a chorus pedal

Nice one. I've done the show a few times. It's pretty easy going - no crazy time changes or arrangements. Have fun!!

Beautiful basses there Norwood. I played a few Xotic basses in Tokyo last year - absolutely immense construction and playability. And the TriLogic preamp is so well voiced IMO. So far I have the pedal. One day I'll have a bass to go around it

In all seriousness - after you've worked through the four songs you've asked them to learn, how about presenting an idea (that you as a band may have worked on already) and seeing what they can add to it?

Earplugs? (Sorry couldn't resist)

Ignore the I'm terrible at it until you're not. Not being sarcy there - bowing isn't the easiest thing to get your head around, but it's also not the hardest. The tricky part is getting the concept, then the practice becomes easier. The concept is to cradle the bow in your hand, not hold it tightly - and letting the weight of your arm move the string. Much in the same way that ones foot is flexible while kicking a ball whilst the strength comes from the leg muscles. (Or so I'm told, not being remotely sporty at all) *edit* - and seriously, ignore the terrible part. Even just bowing for a while, irrelevant of the sound produced, is good for getting the bass to open up. The vibrations are the main thing.