Jakester

Ah, sorry, can't help, though BC's own @Bilbo has a pretty huge archive of transcriptions here which might be worth a look:

I've boycotted Yodel ever since one of their HGV smashed into the back of my car on the motorway, mashing the back end up and the driver refused to give me his details. Cue police being called, who were far more interested in him than me. I gathered from the Highways Agency chaps there may have been a 'discrepancy' between who the licence said was driving, and who actually was driving. In fairness to Yodel I haven't had too many problems when receiving parcels, only in the course of them being delivered (right into the rear end of my car!)

Wow, if he's graduated from £00's to £000's it's really only a matter of time until someone actually takes proper legal action against him.

Are you after the actual transcriptions of the parts, or the chord charts/Real Books etc?

I play 5ers almost exclusively now, and I still struggle with anything less than 18mm. I've tried (and owned) a couple of 5ers with string spacing below that, but I've never really been able to get on with them so moved them on. I have a Lakland 55-02 which is 19mm and a Yamaha TRB1005j which is 18mm. I've had Warwick, G&L (USA and Tribute) and Spector 5ers, all 17.5 or less and could never really gel with them. I do have large hands though....😳 Edit: in fact, it's a shame, because like OP, there's loads of basses I won't even look at because of spacing. I love the aggro G&L sound of an L2500, but just can't get them to work for me. I'd love a Stingray but just don't think it's worth it as I'll have to move it on again.

Thanks @Beedster, will take a look!

Hi @pembroke151! Big Yamaha fan here - love my TRB, have a Yamaha DXR PA and a new Recording Custom drum kit! Good to have you aboard, enjoy the ride!

You say it's not feedback, but are you sure? If it suddenly sounds boomy on certain notes it could be resonance-induced feedback on particular frequencies. I have the same amp and an under-bridge pickup and I do get some feedback if too close to the amp on certain notes/frequencies. I recently posted a thread about feedback on hollow-raised stages and it was suggested I get a HPF - perhaps that might help you? Or perhaps try using multiband eq to identify the particular frequency and cut it?

The former, ideally - I have a fairly large drum kit set up - kick, snare, four toms, overheads, and I would also like to add in a beater and near field resonant head mic (as well as the one inside) and also a couple of spot mics for ride, HH and secondary snare, and possibly a stereo pair of room mics too. ATM if I want to capture the varied BD sounds I end up going kick, snare/s, overheads and extra kick mics, or one mic for two toms etc. Plus it means having to reconfigure things if I want to record aux percussion stuff too. Entirely happy with USB but struggling to find anything affordable with 8+ mic inputs. I've looked at the Scarlett/Clarett stuff and I could use their OctoPre via ADAT but it seems a fairly expensive way of doing it. I could use the Behringer equivalents for around half the price but XR18 aside, I always find their mic preamps REALLY noisy. ESI appear to do a 10-input interface for around £300 but I've never heard of the company before. I don't really mind Firewire - at worst if I find a 'cheap' MOTU or Focusrite/whatever but want to upgrade my laptop I can just use the old FW one for studio-only recording use and then use the newer one for mixing etc.

Thanks Paul!

Thanks lads for spamming the topic...🙄 Maybe get a room?

Does anyone have any recommendations for a half-decent and reasonably affordable audio interface that will do more than 8 inputs at once? Theres loads of great ones up to 8 channels but it seems once you go past that you’re getting into £000’s territory! I do have an XR18 which currently does the job but it’s also my main live mixer so it becomes a bit frustrating having to tear down the mic setup etc every time I have a gig, and I confess I haven’t ruled out just buying another one, but wondered what other recommendations people might have. Setup is an old MacBook Pro so FireWire is entirely feasible if there’s old bargains to be had.

Thanks everyone. I think it’s as much I would like a more creative outlet but simply don’t have the musical skills or knowledge to do it all myself, so necessarily need to collaborate with others, which I guess then inevitably steers me away from what I was aiming for in the first place! Don’t get me wrong, I like playing covers in covers bands or standards in jazz - it gets me out there, the audience is reasonably receptive, but after a fair few years of doing the same thing it’d be nice to have that outlet to explore beyond the ‘usual’ stuff.

No idea, sorry. On the occasion I mentioned, even when we’d agreed a day and time for me to meet him, there was no sign and I had to go away and come back again a few hours later, all brokered by a woman hanging out from an upper floor window. When I came back, he was on the street having a blazing screaming row with her, but at least he was there!

Last time I went past a couple of weeks ago, it looked…just the way it has for years, but that’s not really any indication! TBH I wouldn’t be at all surprised. I actually had to work really hard to get the guy to sell me something a few years back!

I just find this massively sharp practice - it's basically misrepresenting the position to customers. I really won't use anyone again that does this. Bax Shop are one of the worst too.

Why is so much about playing music in public so a pain in the posterior? A few months back, not able to find the sort of night I wanted to play at, I decided to set it up myself. I found a venue which was reopening, and it just so happened my ‘night’ was the sort of thing they wanted to put on, so I booked a few evenings in and set about promoting it, and finding some musicians. I managed to get two (supposedly) likeminded fellows together, and we had a couple of rehearsals, and the first night was decently successful - hire costs for that evening covered, a good dent in the rest of the costs. The second one wasn’t as good - COVID meant only one rehearsal, so the focus we had on new or original music was necessarily put on the back burner in favour of some standards, and numbers were wildly down. Costs weren’t covered, so I’m a bit out of pocket. Oh, well, on to the next. Despite the date being in the diary for more than three months, and the knowledge of the last session fresh in our collective minds - but one of the other guys wouldn’t be pinned down, meaning even greater reliance on standards even if we had one rehearsal. As it turned out, he bailed on that, meaning we had to perform without any practice beforehand at all. Despite a renewed push on promotion, we had barely double digits turn up, so I was out of pocket again. I had been up front with the guys that if we didn’t break even I couldn’t keep subsidising it, so after three sessions I decided to knock it on the head, but with a view to us all playing together still, doing some recording of original music and trying to get gigs the old fashioned way. Anyway, I got contacted by someone who attended who said he was looking to put something similar on himself, so I dropped the chaps a line to see if they might be interested - only to get a response from the guy that couldn’t make rehearsals that he was not interested in just doing standards! I mean - the only reason we fell back on standards was because he couldn’t make any rehearsals - the plan from the outset was to perhaps do some weirder covers and original music, but because we didn’t have any time together that simply didn’t work. Just to cap it off, this evening I’ve had a couple of angry (and abusive) emails from people who clearly didn’t listen to the announcement at the last session saying we weren’t going ahead in August - there’s nothing online or on the venue’s website to say it was on, so not sure where that has come from! It’s been a bloody thankless task - I brought the backline, monitors, mics, did the sound at the gig, and basically ended up paying for other people to have a good time, and it has reminded me why I very much like being in other people’s bands, rather than trying to run my own. It was supposed to be fun but, other than the short time on stage, actually ended up as anything but.

String tension/response? Assuming you mean tuning the 'E' down to C, 'A' down to G etc, isn't the string response across the strings going to be weird? A floopy C and possibly G, normal D, and higher tension A? Starting with the 'wrong' tuning - she'll presumably have to adjust at some point, so why not early on?

You don’t even need to DIY it. I bought one of these to us with my C4 and a Disaster area Micro and it works fine: https://www.amazon.co.uk/dp/B00DM6EMQ2/ref=pe_27063361_487055811_TE_3p_dp_1

I use Piascore. Let’s you store a catalogue of parts and organise into set lists. You can mark up as needed and use a Bluetooth page turner too.

In my limited experience, using my CMD121P at 300w is fine - it's loud, but it needs to be turned up and if driven hard can get a little unruly. Using the extension cab to get the 'full' 500w means it can go as loud without being turned up as much, and getting unruly. All things being equal, it would probably go louder than I would want/need before I experienced any adverse effects through the speakers. It's not so much it's oomphy, rather that it allows you to go that bit louder, more easily. However, if you were using an 800w amp through the same cab as you used the 300w amp, you might find it gets louder quicker but could also be way too much for the cab, resulting in damage.

Thanks - I'll have a look and see if I can give that a go then! Thanks - still "moar geer" with attendant cost too though. Worth knowing it's possible though - how'd you attach to the tailpiece? Velcro?