Dad3353

Many decades ago now, I worked in a music shop, here in France, and worked regularly with one or two variety bands, as well as 'depping' often enough wherever a drummer or bassist was needed. There was a 'pool' of folk that would be called upon, over a rang of instruments, and a much wider 'pool' of competent musicians. These latter would rarely be first choice for opportunities, as, for whatever reason, they did not have, or maintain, the contact skills that the former used. Maybe less motivated, maybe with other commitments, maybe just less 'personable'... Whatever. Most had fine musical skills, chops, technique, repertoire etc, but didn't get the calls. I took a lesson from all of this, and honed my 'personal' skills almost as much as my drumming rudiments and chops. Luck plays a part, but contacts trumps playing ability most of the time, that, I'd say. Just my tuppence-worth.

'Whiter Shade Of Pale'..?

Is this where the term 'peddler' comes from..?

The reference is probably StewMac, USA. They are certainly not the cheapest, but their gear is decent stuff, not Chinese whatever. We found, for a couple of luthier projects, that it was well worth joining the StewMax 'club' thing, to get free shipping. The cost of the yearly sub was quickly saved, as shipping tools is expensive. We've looked at, and tested, quite a few cheaper options, but none have been worthwhile (well, not quite; we did get a few decent tools from a Spanish supplier...). I don't rate Amazon at all for this category (although I use 'em a lot for many other things...). Hope this helps. Douglas

He often does refins on other people's basses, but without telling them. He likes the look on their face when they find out. ...

It's also smuggling, too. Just sayin'.

Within these hallowed halls, at least, you are famous..! (Well, it's a start. ...)

Already recounted in a previous topic, but it's appropriate here, too... We lent our 5-string Cort (the least-expensive fiver, at the time...) to Rodney Curtis (Maceo Parker bassist...) for our 3 Elephants festival, as his Lakland had a dead pre-amp. By good luck, it had the same p/u configuration (J-MM...) as his duff bass. He changed the strings and played a splendid set with it (it sounded great through the Ampeg backline...). He signed the back (now worn off...), and was very happy with the way it played. At the time, that was our n° 1 bass. Happy daze.

And the winners are ... @Dad3353 (Hey, that's me..! ...) and @Nail Soup Here, then, are your Winner's Certificates (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2022_12.pdf ... which look like this (but bigger, of course..!)…

A bass is a bass is a bass. For most repertoires, in most bands, what the audience hears, and what most band members recognise, is the bass. What model, make, year, colour... These details are quite a way down the list of 'Things To Worry About'. Get a 'spare'; that's a Good Idea. If you come to need it, as a spare, it'll matter little whether it's white or black. I'd suggest the '50s 'P', as a change and variant, unless 'your' sound in the band mix is heavily dependent on what your Stingray sounds like. I would doubt that, but I'll admit the distant possibility. A bass is a bass is a bass. That's my tuppence-worth.

One measures string height..?

Wot 'e sed ^^^^^^ .

We are all, in our own ways, somewhat asocial, but we do indulge, sporadically, in a group event. One such event tomorrow evening, where we are all (five of us in the group...) invited to 2nd Guitar's cottage for an evening. We'll (drums, bass, 1st guitar...) do the main course, another (singist..?) will bring starters, and our host will provide dessert and drinks. It's a modest get-together, with some singing and guitar-playing; no party hats or crackers, though. These little occasions are all the more enjoyable for being spontaneous and rare. Edit : I should maybe have mentioned that I'm the drummer, Bass and 1st Guitar are our two sons; we all share the same cottage. Despite this, we have little social interactivity, having each our 'quarters' and occupations. Odd meals, a few (very few...) TV programmes, crossed paths in the kitchen area, or for shopping, is our daily/weekly modus operandi. As I wrote at the start : somewhat asocial.

Badly. ..

And that's Jerusalem over that hill there, I suppose..!

But... But... But... Shirley this was foreseeable and foreseen, and stockpiles built up to last until alternative supplies or techniques cut in..? Shirley..? Isn't that what everyone was told and promised..? Were untruths being bandied about..? Shirley not..!

Good luck with a condenser mic with that. The Fx stomp box goes to a DI, then, I suppose, to get to the desk..?

This doesn't have an Xlr input for a mic, though, so could only be used as an insert at the console. It might be difficult to use the stomp-switch in that case. There are vocal pedals for this use, though, that allow the singer to control the Fx him/her self. Look at the TC Helicon 'Critical Mass', for instance, for doubling up the vocals.

It depends a lot on the venue (whether there is a natural echo or delay from the ceiling and walls...), so would normally be dosed per venue. Be aware that, if there is speech between the songs, delay/reverb is rather more of a hindrance, so should be avoided at that time. Ideally, someone at the desk would be dosing any Fx in real time, but this relies on having a sound tech, preferably with knowledge of the repertoire. As usual, the standard advice of 'less is more' applies; better too little, usually, than too much. The answer, really, is 'a lemon : suck it and see'. And 'No, it won't create the same Fx as the recording', but is that important..? If it is, play the recording and mime/lip-sync..!

I don't think Fender offer instruments to suit my tastes/style, but Ibanez have this, which would please me greatly... Ibanez SRH500F-NNF...

Bump

... and a Happy New Year to you, too..!